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Journal articles on the topic 'Photographic scene'
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1
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.
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Conor, Liz. "Beauty contestant in the photographic scene." Journal of Australian Studies 25, no. 71 (January 2001): 33–43. http://dx.doi.org/10.1080/14443050109387718.
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Wood, Peter. "Māori Girl with a Typewriter, 1906." Architectural History Aotearoa 16 (December 5, 2019): 87–98. http://dx.doi.org/10.26686/aha.v16.8934.
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This paper takes its title from a photograph held by the Alexander Turnbull Library. Recorded by Stefano Webb Photographic Studio of Christchurch, it is a studio study that falls somewhere between being a portrait, commercial illustration or candid record. The subject for the photograph - as the name reveals - is a young Māori woman sitting in front of a typewriter. Her fingertips touch the keys of the machine but her relationship to this quintessential object of the "modern" office-place is juxtaposed against surfaces that are distinctly indigenous: the woman wears a feather cloak and the typewriter is placed on another flax one. In turn this display is situated in a generic office environment. In totality the photographic is thematically and pictorially enigmatic, and we might reasonably wonder what purpose it served? In this work I conduct a comprehensive visual analysis and suggest that there may not be one main motivation behind it but a series of experiments, both conscious and unconscious to the photographer, that govern the creation and interpretation of this photograph. Central to my reading is the presence of an architectural mise-en-scene that organizes and activates the pictorial mystery, and so, while this does not depict an heroic architectural object it nonetheless depends upon an appreciation of how architecture might organise a photographic record.
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Jernejšek, Jasna, and Martin Parr. "Photography Is the Only Art Form That We All Do: Interview with Martin Parr." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 24–29. http://dx.doi.org/10.47659/m5.024.int.
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Martin Parr (1952) is considered to be one of the most iconic and influential photographers of his generation. Parr, whom obtained a photography degree at Manchester Polytechnic (1970–1973), joined the classics of British documentary photography with a series of black and white photographs of the disappearing folk customs of Northern England. In the 80s he managed to make his breakthrough to the global photography scene (and market). At that time, impressed by American colour photography, he took on photographing on colour film himself. He made The Last Resort (1983–1985), a series of British working class while spending holidays in a coastal resort in New Brighton, which remains one of his most recognizable work to this day. After its first presentation in the Serpentine Gallery in London in 1986, the project triggered turbulence and division of opinions of both professionals and general public. Polarization of opinions became a constant in Parr’s photography career. The polemics he caused by first becoming a member (1994) and then the president of Magnum Photos (2013–2017) are well known. The critics castigated Parr for being cruel and voyeuristic, and that he claimed to only be photographing what he sees, while he benefited from making a mockery of others. His unconventional use of the medium, smooth traversing through different contexts of photography and flirting with obvious commercial interests was deemed controversial and questionable by many (until today). Keywords: Martin Parr, photobook, photographic backdrop, portrait, studio photography
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Homer, Brian. "The changing face of my jazz photographic practice." Jazz Research Journal 16, no. 2 (March 8, 2024): 160–69. http://dx.doi.org/10.1558/jazz.27310.
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This article is a reflection on my jazz photography practice and how it has changed with my involvement in academic research after becoming actively involved in the Jazz Studies cluster at the Birmingham Centre for Media and Cultural Research (BCMCR), Birmingham City University and starting a close collaboration with jazz scholar Dr Pedro Cravinho. My practice evolved from photographing musicians playing at gigs to visualising the jazz scene and musicians from a different perspective which includes aspects of their off-stage lives. Through our discussions and common interests in the local jazz scene(s), Cravinho and I began developing a research process in which photography is the visual driver but is underpinned by Pedro’s rigorous academic input. Our collaboration is built on my documentary photography practice and Pedro’s ethnomusicological research background.
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Colner, Miha. "Human Figure as an Object: Vanja Bučan, photographer." Instinct, Vol. 4, no. 1 (2019): 28–32. http://dx.doi.org/10.47659/m6.028.rev.
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The article analyzes the artistic process of the Berlin-based photographer Vanja Bučan, who always manages to maintain at least some recognizable expression despite her varied approaches. Her works are visually rich, carrying complex meanings and associations. She chooses not to directly reflect the collective and the individual everyday life but depicts universal existentialist motifs where the social perspective is usually shown through metaphors and allegories. The centerpiece of her work is the relationship between culture and nature and between humans and their environment, as well as the ontology of image in mass media circulation. Her photography requires a considerable degree of cerebral activity and intuition in order to sense some of the fundamental questions of humankind in the Anthropocene. Keywords: Anthropocene, art photography, photographic mise-en-scene, representation of nature
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Zhou, H., Y. Liu, and Z. Ji. "A UAV PHOTOGRAPHIC PATH PLANNING METHOD FOR HIGH-QUALITY RECONSTRUCTION OF CULTURAL HERITAGE." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-1/W1-2023 (May 25, 2023): 579–86. http://dx.doi.org/10.5194/isprs-archives-xlviii-1-w1-2023-579-2023.
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Abstract. The image-based reconstruction method can preserve geometric and textural information with relatively high accuracy, making it a suitable method for digitally documenting cultural heritage. However, the quality of the reconstructed model largely depends on the quality of the captured images. Unmanned aerial vehicles (UAVs) equipped with a camera and gimbal offer great convenience for image acquisition in 3D reconstruction. However, ensuring safety, high efficiency, and full coverage is a challenge. To address this, we propose a UAV photographic path planning method for efficient and automatic image acquisition of heritage scenes, based on which high-quality reconstruction is realized. A priori proxy of the scene is obtained in advance and utilized to (1) generate initial viewpoints for subsequent optimization; (2) generate the SDSM for obstacle avoidance, signal analysis, and sight occlusion judgment; and (3) segment to obtain planar regions to sample representative points for measuring the reconstructability of heritage scene and optimizing the viewpoints. Our method enables the planning of regular and safe final paths for the high-quality reconstruction of cultural heritage, outperforming both commercial software and state-of-the-art methods in both real and virtual scenes.
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Mather, George. "Artistic Adjustment of Image Spectral Slope." Art & Perception 2, no. 1-2 (2014): 11–22. http://dx.doi.org/10.1163/22134913-00002018.
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The Fourier spectral slope of 31 artworks was compared to the spectral slope of closely matched photographic images. The artworks were found to display a relatively narrow range of spectral slopes relative to the photographs. Two accounts for this range compression were investigated. The first proposes that the band-pass nature of the visual system’s psychophysical ‘window of visibility’ is responsible. Simulation of this effect by application of an appropriate spatial filter to the original photographs could not explain the range compression, unless one assumed a consistent relation between the visual angle subtended by the scene at the artist’s eye, and the scene’s spectral slope (such that scenes with a steep slope subtended larger angles than scenes with a shallow slope). The second account involves more complex ‘artistic’ filtering which smoothes out textural details while preserving edges. Application of two such filters to the photographs was able to reproduce the spectral slope range compression evident in artworks. Both explanations posit a central role for the artist’s visual system in adjusting image spectral slope, which can be modelled using visual filters.
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Grossmann, Rebekka. "Image Transfer and Visual Friction: Staging Palestine in the National Socialist Spectacle." Leo Baeck Institute Year Book 64, no. 1 (2019): 19–45. http://dx.doi.org/10.1093/leobaeck/yby022.
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Abstract This article highlights modes of image transfer between photographers in Palestine and photo agencies and editors in 1930s Europe. It argues that Jewish photographers—who had shaped the central European photographic and photojournalistic scene before 1933, and were now excluded from it—continued to influence the international news and press market through their works. Palestine, a place to which several of these journalists fled, had been known in the European spectacle as the timeless ‘Holy Land’; now, through political upheavals, it entered the news. The photographic documents of the clashes between Arabs, Jews, and British troops during the 1930s and taken by German-Jewish photographers in exile became valuable commodities internationally and entered a plethora of national markets, including that of National Socialist Germany. Many of the photographers who had been banned from the German photojournalistic scene in fact remained part of the visual discourse negotiated in German illustrated newspapers. The experience of exile of the photographers and photo agents involved in the international image transfer of photographs from Palestine can be seen as a catalyst for the contingencies in international photo trade, the loss of control of news photographs, and ultimately the crossing of the aesthetic and artistic borders of National Socialist Germany, which were believed to be closed to outside influences. The various views and the ways in which they were used trigger questions about the nature of the photographic gaze and the possibility or impossibility of distorting visual content via textual frameworks in photo essays and newspaper articles.
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Sheehi, Stephen. "A SOCIAL HISTORY OF EARLY ARAB PHOTOGRAPHY OR A PROLEGOMENON TO AN ARCHAEOLOGY OF THE LEBANESE IMAGO." International Journal of Middle East Studies 39, no. 2 (May 2007): 177–208. http://dx.doi.org/10.1017/s0020743807070067.
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Viewing an exhibition of civil war paintings in 1886, Lea Barakat wrote that her “country came to mind: the splendor of its ruins, the wonders of their form like the fortress of Baalbek, the ruins of Palmyra, and the scenes of Lebanon…” Native women should paint like this, she states, and “not leave a scene [of Lebanon] unpainted… They can decorate the rooms of their homes and sitting rooms with these pictures…” She concludes that “since the ladies of our country are smarter and more industrious in their handcrafts than [American] ladies,” they too can obtain a similar level of “wealth, honorable work, admiration of the masses, and praise for the virtue of their [arts and crafts]. This study is a prolegomenon to examining the topography of visual culture and modernity to which Barakat alludes. Rather than painting, this article focuses on photography produced by Arabs during the late Ottoman and early Mandate periods in Lebanon. Less concerned with using photographs to document social transformations, this study theorizes how production and deployment of the photographic image played a part in the conceptualization of a bourgeois individualist subjectivity in Lebanon, which is claimed not to exist in the Arab world.
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Yiu, Sheung. "Excerpts from Everything Is a Projection (2020–present): Digital photography and 3D photogrammetry." Philosophy of Photography 12, no. 1 (October 1, 2021): 149–60. http://dx.doi.org/10.1386/pop_00055_7.
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In three-dimensional (3D) computer graphics, photography is treated not as the final product but as data to be extracted, information to be mapped onto and raw material to augment 3D models. Texture maps, normal maps and bump maps, created from photographic data, describe the reflectance properties of an object in a virtual scene. They give instructions to the render engine to calculate the correct pixel value, generating a near imperceptibly natural scene for the human eye. Computer graphics utilizes a network of images taken from different perspectives and at different scales to achieve photorealism. The project investigates one of many algorithmic visual systems that act as a backbone of virtual reality and gaming.
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Henisch, B. A., and H. K. Henisch. "Cuthbert Bede and the photographic scene in the 1850s." History of Photography 28, no. 4 (December 2004): 348–56. http://dx.doi.org/10.1080/03087298.2004.10441339.
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Fedorowicz-Jackowska, Aleksandra. "‘Through a Microscope from a Telescopic Distance’: Witkacy, Cameron and the Photography of Faces." Ikonotheka, no. 30 (May 28, 2021): 31–49. http://dx.doi.org/10.31338/2657-6015ik.30.2.
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Witkacy was a central figure of the Polish art scene in the first half of the twentieth century. A painter, writer, philosopher, art theorist, and playwright, he also imaginatively played with the photographic medium. This article will show that the most significant part of his photographic practice, carried on since his youth, was centered on faces. Debating the prevailing view that tends to see Witkacy as a lone visionary, I will argue that Julia Margaret Cameron’s photographic portraits inspired the artist’s style and approach to the genre of photographic portraiture.
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James, Russell, and Michael O’Boyle. "Graffiti and perceived neighborhood safety: a neuroimaging study." Property Management 37, no. 1 (February 18, 2019): 69–81. http://dx.doi.org/10.1108/pm-12-2017-0071.
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Purpose The purpose of this paper is to uncover the neural basis underlying the negative impact of graffiti on evaluations of neighborhood safety. Design/methodology/approach While in a functional magnetic resonance imaging scanner, participants rated the perceived safety of neighborhood scenes shown in photographic images. Some scenes were systematically altered to include graffiti, surveillance cameras or framed public art. Findings Consistent with previous research, the average safety rating for each scene including graffiti was significantly lower than for every other non-graffiti scene presented. The powerful salience of graffiti (as demonstrated by increased activation of the left fusiform gyrus) accompanied a decreased salience of other built environment scene elements (as demonstrated by reduced activation in the right parahippocampal gyrus). It appears as though the presence of graffiti causes the cognitive impact of other scene elements to fade. This redirection of cognitive focus may help to explain the dominant impact of graffiti on neighborhood safety evaluations. Practical implications Because of these basic perceptual tendencies, graffiti will necessarily dominate neighborhood safety evaluations. In any attempts to improve neighborhood safety evaluations, combating graffiti should be accorded a position of great importance, in keeping with these cognitive realities. Originality/value This is the first neuroimaging study of graffiti and perceived neighborhood safety.
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Barasch, Alixandra, Kristin Diehl, Jackie Silverman, and Gal Zauberman. "Photographic Memory: The Effects of Volitional Photo Taking on Memory for Visual and Auditory Aspects of an Experience." Psychological Science 28, no. 8 (June 26, 2017): 1056–66. http://dx.doi.org/10.1177/0956797617694868.
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How does volitional photo taking affect unaided memory for visual and auditory aspects of experiences? Across one field and three lab studies, we found that, even without revisiting any photos, participants who could freely take photographs during an experience recognized more of what they saw and less of what they heard, compared with those who could not take any photographs. Further, merely taking mental photos had similar effects on memory. These results provide support for the idea that photo taking induces a shift in attention toward visual aspects and away from auditory aspects of an experience. Additional findings were in line with this mechanism: Participants with a camera had better recognition of aspects of the scene that they photographed than of aspects they did not photograph. Furthermore, participants who used a camera during their experience recognized even nonphotographed aspects better than participants without a camera did. Meta-analyses including all reported studies support these findings.
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Morales, Iván. "‘Las sombras llaman a mi puerta’: John Alton y el melodrama en Puerta cerrada (1939)." Studies in Spanish & Latin-American Cinemas 16, no. 3 (September 1, 2019): 295–314. http://dx.doi.org/10.1386/slac_00001_1.
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Este artículo estudia el trabajo de John Alton en Puerta cerrada (Saslavsky, 1939). En la última interpretación musical de la película, Alton fotografía a Libertad Lamarque en plena oscuridad, logrando una impactante escena donde anticipa el estilo de iluminación que desarrolló en los film noirs realizados en Hollywood tiempo después. Partiendo de esta escena, analizaré el diálogo que se produce entre el peculiar estilo fotográfico de Alton, el uso del melodrama que hace Saslavsky, y la performance de Lamarque.This article studies the work of John Alton in Puerta cerrada (Saslavsky, 1939). In the film’s last musical performance, Alton photographs Libertad Lamarque in deep darkness, achieving a dazzling scene that foreshadows the lighting style he later developed in Holywood film noirs made. Starting with this scene, the article analyses the dialogue generated by Alton’s peculiar photographic style, Saslavsky’s use of melodrama and Lamarque’s performance.
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Camacho Gámez, César Antonio. "El cuerpo abortado: retórica fotográfica en la película Roma." Sincronía XXV, no. 80 (July 3, 2021): 622–40. http://dx.doi.org/10.32870/sincronia.axxv.n80.28b21.
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This work analyzes Rome, by the director Humberto Cuarón, is analyzed through an image rhetoric according to Roland Barthes. It is a study about the connotation of a filmic body in the construction of sense. It approaches photography semiotics to the transmission of cinematographic messages applied to the Halconazo scene in order to interpret the meaning of the reference of the Corpus Christi massacre.
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Fatima, Fatima. "Forensic Photography: A Visual and Legal Record of Crime Scene." International Journal for Electronic Crime Investigation 3, no. 2 (June 7, 2019): 10. http://dx.doi.org/10.54692/ijeci.2019.030234.
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Based on priority forensic photography is a source of documenting crime scenes. Currently it enables to signify a crime scene with every significant pieces of location and evidences. Adding to forensic investigation, crime scene photography provides a true and precise record of original scene and evidences relevant to surroundings. Crime scene photograph can illustrate a crime scene easily than verbal description by an investigator as it freezes time and records the evidences. It records all type of crime scenes such as fingerprints, impressions, injuries or bruises on skin in assault cases, human identification, bloodied body and knife in murder case etc. Scientific photography skills and techniques such as UV, IR and Fluorescence light filters are practiced to discover and preserve the hidden information during investigation. It is an integral part of criminal investigation by providing proper documented focused photographs to present actual story of the scene in the courtroom.
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de la Torre, Osvaldo. "Introduction to Ronald Kay's “On photography Time split in two”." ARTMargins 2, no. 3 (October 2013): 114–22. http://dx.doi.org/10.1162/artm_a_00062.
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The text presented here constitutes the first time that Ronald Kay's work has been rendered and published in English translation. A fundamental figure within Chile's art scene during its recent dictatorial period (1973–1990), Kay's written, pedagogic, and editorial contributions were instrumental in shaping the sophisticated and insurgent discourse of the artists working under the rubric now known as the neovanguardia. The first chapter of Ronald Kay's Del Espacio de Acá (1980), “On photography Time split in two” lays out, in a style and rhetoric that are both lyrical and rigorous, Kay's theorization of the photographic phenomenon as a miniature geological event.
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Kay, Ronald. "On photography Time split in two." ARTMargins 2, no. 3 (October 2013): 123–30. http://dx.doi.org/10.1162/artm_a_00063.
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The text presented here constitutes the first time that Ronald Kay's work has been rendered and published in English translation. A fundamental figure within Chile's art scene during its recent dictatorial period (1973–1990), Kay's written, pedagogic, and editorial contributions were instrumental in shaping the sophisticated and insurgent discourse of the artists working under the rubric now known as the neovanguardia. The first chapter of Ronald Kay's Del Espacio de Acá (1980), “On photography Time split in two” lays out, in a style and rhetoric that are both lyrical and rigorous, Kay's theorization of the photographic phenomenon as a miniature geological event.
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Zhu, X., G. Pang, and C. Chen. "RESEARCH AND APPLICATION OF HISTORICAL 3D MODELING BASED ON ARCHIVED NON-OBLIQUE AERIAL PHOTOS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B2-2020 (August 12, 2020): 555–60. http://dx.doi.org/10.5194/isprs-archives-xliii-b2-2020-555-2020.
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Abstract. Nowadays, the oblique and multi-view, large-overlap aerial photography and airborne LiDAR are the main sources to build the 3D scene model. However, most of our archived aerial photos are acquired by non-oblique, normal photography. Because of low resolution, low overlay and poor model texture, there were less relative research and application. With the development of pixel-level matching technology, especially the application of Semi-Global Matching (SGM) and Multi-View Stereo (MVS) algorithm, the normal (non-oblique, non-large overlap) aerial photos could also be explored to restore the dense Digital Surface Model (DSM) and 3D scene model. In this paper, the method of the 3D scene modelling with the non-oblique aerial photos are summarized into 4 steps consisting of Data preprocessing, Ground Control Points (GCPs) collection and aerial triangulation (AT), DSM extraction and editing, 3D modelling and visualization. For the archived non-oblique aerial photos, including the aerial photographic films, digital frame photos and push-broom aerial data, the key steps of the 3D modelling method with these non-oblique aerial photos are discussed. Based on the experiments, the method can effectively explore the archived normal aerial data for large range restoration, 3D restoration, time series change detection and etc., providing new valuable spatio-temporal data for the urban historical research.
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Groth, Helen. "TECHNOLOGICAL MEDIATIONS AND THE PUBLIC SPHERE: ROGER FENTON’S CRIMEA EXHIBITION AND “THE CHARGE OF THE LIGHT BRIGADE”." Victorian Literature and Culture 30, no. 2 (August 27, 2002): 553–70. http://dx.doi.org/10.1017/s1060150302302092h.
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AT THE GALLERY OF THE SOCIETY OF PAINTERS in Water Colours in Pall Mall East in the autumn of 1855, Roger Fenton exhibited three hundred and twelve photographs taken in the Crimea. Undertaken with the patronage of Queen Victoria, Prince Albert, and the Duke of Newcastle, the then Secretary of State for War, Fenton’s photographic record was intended to inform the Victorian public of the “true” condition of the soldiers in what was fast becoming an unpopular war. In the catalogue, one photograph bore the title “The Valley of the Shadow of Death,” a title with both biblical and literary resonances for exhibition audiences in late 1855.1 Tennyson’s “The Charge of the Light Brigade” had been published in the Examiner on 9 December 1854, causing a sensation both at home and in the Crimea.2 Organized around variations on the refrain “Into the valley of Death / Rode the six hundred,” the poem assumed anthem-like status during the period when Fenton was in the Crimea. Filtered through the lens of Tennyson’s poem, Fenton’s photograph appears to record the traces of a charge or a battle scene that has just taken place.
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Peng, Qi, Lifen Tu, Kaibing Zhang, and Sidong Zhong. "Automated 3D Scenes Reconstruction Using Multiple Stereo Pairs from Portable Four-Camera Photographic Measurement System." International Journal of Optics 2015 (2015): 1–9. http://dx.doi.org/10.1155/2015/471681.
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An effective automatic 3D reconstruction method using a portable four-camera photographic measurement system (PFCPMS) is proposed. By taking advantage of the complementary stereo information from four cameras, a fast and highly accurate feature point matching algorithm is developed for 3D reconstruction. Specifically, we first utilize a projection method to obtain a large number of dense feature points. And then a reduction and clustering treatment is applied to simplify the Delaunay triangulation process and reconstruct a 3D model for each scene. In addition, a 3D model stitching approach is proposed to further improve the performance of the limited field-of-view for image-based method. The experimental results tested on the 172 cave in Mogao Grottoes indicate that the proposed method is effective to reconstruct a 3D scene with a low-cost four-camera photographic measurement system.
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Carnevali, L., F. Lanfranchi, L. Martelli, and M. Martelli. "COLOURIMETRIC CALIBRATION FOR PHOTOGRAPHY, PHOTOGRAMMETRY, AND PHOTOMODELLING WITHIN ARCHITECTURAL SURVEY." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-4/W5-2021 (December 23, 2021): 151–58. http://dx.doi.org/10.5194/isprs-archives-xlvi-4-w5-2021-151-2021.
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Abstract. In accordance with the “Declaration of Rome on architectural survey”, we can affirm that recording and interpretation of colour information in photographic surveying, in photogrammetric surveying and in photomodelling requires careful planning of Colour Imaging processes. Information acquired by an optical sensor is influenced not just by the actual photographed scene, but also by the spectral sensitivity of the sensor. We have adopted, from the field of Cultural Heritage, a method of colourimetric calibration for digital photographs and have proposed some adjustments to finalise this process for the purposes of Architectural Survey. With the use of a colourimetric target and a non-linear transformation algorithm, our Colour Imaging method statistically reconstructs colours conventionally unrecordable by a commercial camera. In addition, this method reconstructs colours as if the photographed object were exposed to a standard illuminant, assessing a colour error parameter value for each photo. By including the colourimetric target in every shot and by applying the calibration algorithm to all photographs taken, the process correlates all data sets to a single standard illuminant: regarding photomodelling, this leads to a more uniform and detailed representation of the surfaces of virtual models. We present two successful examples of application: one focused on a design object with physioplastic decoration and another regarding a circular fountain in a historic villa.
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Sieberth, T., R. Wackrow, V. Hofer, and V. Barrera. "LIGHT FIELD CAMERA AS TOOL FOR FORENSIC PHOTOGRAMMETRY." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-1 (September 26, 2018): 393–99. http://dx.doi.org/10.5194/isprs-archives-xlii-1-393-2018.
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<p><strong>Abstract.</strong> Light field cameras record both the light intensity received by the sensor and the direction in which the light rays are travelling through space. Recording the additional information of the direction of Light rays provides the opportunity to refocus an image after acquisition. Furthermore, a depth image can be created, providing 3D information for each image pixel. Both, focused images and 3D information are relevant for forensic investigations. Basic overview images are often acquired by photographic novices and under difficult conditions, which make refocusing of images a useful feature to enhance information for documentation purposes. Besides focused images, it can also be useful to have 3D data of an incident scene. Capital crime scenes such as homicide are usually documented in 3D using laser scanning. However, not every crime scene can be identified as capital crime scene straight away but only in the course of the investigation, making 3D data acquisition of the discovery situation impossible. If this is the case, light field images taken during the discovery of the scene can provide substantial 3D data. We will present how light field images are refocused and used to perform photogrammetric reconstruction of a scene and compare the generated 3D model to standard photogrammetry and laser scanning data. The results show that refocused light field images used for photogrammetry can improve the photogrammetry result and aid photogrammetric processing.</p>
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Wang, Y., H. Fan, and W. Jiao. "ESTIMATING HEIGHTS OF BUILDINGS FROM GEOTAGGED PHOTOS FOR DATA ENRICHMENT ON OPENSTREETMAP." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIII-B4-2020 (August 25, 2020): 631–37. http://dx.doi.org/10.5194/isprs-archives-xliii-b4-2020-631-2020.
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Abstract. To reconstruct 3D building models, building footprints and heights are essential information. From OpenStreetMap (OSM), we can easily obtain footprints. However, building height is usually missing. In order to yield the height information of building in OSM, this paper proposes a geometric method to estimate building height from geotagged photographs. This method explores the geometric relationship between the perspective centre of geotagged photos and buildings. Through matching photos and OSM, building height can be estimated according to the ratio of height to width of building. The proposed method can be divided into three parts. First, automatic geometric correction of photos is realized by using vanishing point tracking. After that, a semi-automatic scene search method is proposed to match the geotagged photograph and OSM. In this step, geographic coordinates of photos are used to locate a photographic scene. According to the edge of the building in the photos, corresponding footprints in OSM can be found. Finally, based on the length of the associated edge in the building footprint in OSM, the height of building can be calculated. Using Flickr photos and OSM in London, we experiment with the proposed method. The robustness of the geometric model has been verified. Experiments show that the proposed method is pertinent as the estimated height has expressed a proper ratio with its width, which is the same as the corrected photos. In particular for automatic geometric correction, which can achieve the same good results as the correction of manual operation.
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Rietveld, Hillegonda C. "Review | Out of Order: A Photographic Celebration of the Free Party Scene." IASPM@Journal 6, no. 1 (November 7, 2016): 157–58. http://dx.doi.org/10.5429/2079-3871(2016)v6i1.13en.
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Payne, Carol. "Negotiating Photographic Modernism inUSA: A Quarterly Magazine of the American Scene(1930)." Visual Resources 23, no. 4 (December 2007): 337–51. http://dx.doi.org/10.1080/01973760701666406.
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Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (December 1, 2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.
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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.
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Xiong, J., S. Zhong, and L. Zheng. "AN AUTOMATIC 3D RECONSTRUCTION METHOD BASED ON MULTI-VIEW STEREO VISION FOR THE MOGAO GROTTOES." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-4/W5 (May 11, 2015): 171–76. http://dx.doi.org/10.5194/isprsarchives-xl-4-w5-171-2015.
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This paper presents an automatic three-dimensional reconstruction method based on multi-view stereo vision for the Mogao Grottoes. 3D digitization technique has been used in cultural heritage conservation and replication over the past decade, especially the methods based on binocular stereo vision. However, mismatched points are inevitable in traditional binocular stereo matching due to repeatable or similar features of binocular images. In order to reduce the probability of mismatching greatly and improve the measure precision, a portable four-camera photographic measurement system is used for 3D modelling of a scene. Four cameras of the measurement system form six binocular systems with baselines of different lengths to add extra matching constraints and offer multiple measurements. Matching error based on epipolar constraint is introduced to remove the mismatched points. Finally, an accurate point cloud can be generated by multi-images matching and sub-pixel interpolation. Delaunay triangulation and texture mapping are performed to obtain the 3D model of a scene. The method has been tested on 3D reconstruction several scenes of the Mogao Grottoes and good results verify the effectiveness of the method.
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Zalczer, Eloi, François-Xavier Thomas, Laurent Chanas, Gabriele Facciolo, and Frédéric Guichard. "Depth Map Quality Evaluation for Photographic Applications." Electronic Imaging 2020, no. 9 (January 26, 2020): 370–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.9.iqsp-370.
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As depth imaging is integrated into more and more consumer devices, manufacturers have to tackle new challenges. Applica- tions such as computational bokeh and augmented reality require dense and precisely segmented depth maps to achieve good re- sults. Modern devices use a multitude of different technologies to estimate depth maps, such as time-of-flight sensors, stereoscopic cameras, structured light sensors, phase-detect pixels or a com- bination thereof. Therefore, there is a need to evaluate the quality of the depth maps, regardless of the technology used to produce them. The aim of our work is to propose an end-result evalua- tion method based on a single scene, using a specifically designed chart. We consider the depth maps embedded in the photographs, which are not visible to the user but are used by specialized soft- ware, in association with the RGB pictures. Some of the aspects considered are spatial alignment between RGB and depth, depth consistency, and robustness to texture variations. This work also provides a comparison of perceptual and automatic evaluations.
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Harper, Bernard, and Richard Latto. "Cyclopean Vision, Size Estimation, and Presence in Orthostereoscopic Images." Presence: Teleoperators and Virtual Environments 10, no. 3 (June 2001): 312–30. http://dx.doi.org/10.1162/105474601300343630.
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Stereo scene capture and generation is an important facet of presence research in that stereoscopic images have been linked to naturalness as a component of reported presence. Three-dimensional images can be captured and presented in many ways, but it is rare that the most simple and “natural” method is used: full orthostereoscopic image capture and projection. This technique mimics as closely as possible the geometry of the human visual system and uses convergent axis stereography with the cameras separated by the human interocular distance. It simulates human viewing angles, magnification, and convergences so that the point of zero disparity in the captured scene is reproduced without disparity in the display. In a series of experiments, we have used this technique to investigate body image distortion in photographic images. Three psychophysical experiments compared size, weight, or shape estimations (perceived waist-hip ratio) in 2-D and 3-D images for the human form and real or virtual abstract shapes. In all cases, there was a relative slimming effect of binocular disparity. A well-known photographic distortion is the perspective flattening effect of telephoto lenses. A fourth psychophysical experiment using photographic portraits taken at different distances found a fattening effect with telephoto lenses and a slimming effect with wide-angle lenses. We conclude that, where possible, photographic inputs to the visual system should allow it to generate the cyclopean point of view by which we normally see the world. This is best achieved by viewing images made with full orthostereoscopic capture and display geometry. The technique can result in more-accurate estimations of object shape or size and control of ocular suppression. These are assets that have particular utility in the generation of realistic virtual environments.
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Morrison, H. Boyd. "Depth and Image Quality of Three-Dimensional, Lenticular-Sheet Images." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 41, no. 2 (October 1997): 1338–42. http://dx.doi.org/10.1177/1071181397041002135.
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This study investigated the inherent tradeoff between depth and image quality in lenticular-sheet (LS) imaging. Four different scenes were generated as experimental stimuli to represent a range of typical LS images. The overall amount of depth in each image, as well as the degree of foreground and background disparity, were varied, and the images were rated by subjects using the free-modulus magnitude estimation procedure. Generally, subjects preferred images which had smaller amounts of overall depth and tended to dislike excessive amounts of foreground or background disparity. The most preferred image was also determined for each scene by selecting the image with the highest mean rating. In a second experiment, these most preferred LS images for each scene were shown to subjects along with the analogous two-dimensional (2D) photographic versions. Results indicate that observers from the general population looked at the LS images longer than they did at the 2D versions and rated them higher on the attributes of quality of depth and attention-getting ability, although the LS images were rated lower on sharpness. No difference was found in overall quality or likeability.
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Pitol, Andr�. "ALGUMAS PARCERIAS FOTO/GR�FICAS DE ALAIR GOMES: BURLE MARX, MAGALH�ES E FIORE / Some photo/graphic partnerships by Alair Gomes: Burle Marx, Magalh�es and Fiore." arte e ensaios 27, no. 42 (January 3, 2022): 210–33. http://dx.doi.org/10.37235/ae.n42.16.
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Alair Gomes fez parte de uma comunidade cient�fica predominantemente carioca, mas manteve diversos contatos internacionais ligados � pesquisa universit�ria. Como esse texto apresenta, situa��o semelhante se passou no plano art�stico, influenciando suaprodu��o fotogr�fica. A compreens�o do lugar que Alair Gomes ocupou no cen�rio cultural a partir da d�cada de 1960 parece solicitar a reconstru��o de poss�veis parcerias entre o fot�grafo e os demais atores daquele per�odo. Analisaremos tr�s epis�dios que possibilitaram a Alair Gomes estabelecer colabora��es profissionais e projetos fotogr�ficos: fotografando o s�tio do paisagista Burle Marx; estabelecendo di�logo com o designer Aloisio Magalh�es; e participando da publica��o de um livro do designer gr�fico norte-americano Quentin Fiore. A an�lise desses epis�dios introduz e re�ne casos esparsos que at� o momento puderam ser acompanhados com maior aten��o e rigor de pesquisa. Discutimos a constru��o do contexto art�stico de Alair Gomes, que, como proposto, n�o pode ser desconsiderado na avalia��o de seus trabalhos fotogr�ficos.Palavras-chave:Fotografia; Alair Gomes; Roberto Burle-Marx; Aloisio Magalh�es; Quentin Fiore�AbstractAlair Gomes was part of a predominantly carioca scientific community, but maintained several international contacts linked to university research. As this text presents, a similar situation took place at the artistic level, influencing his photographic production. Understanding the place Alair Gomes occupied in the cultural scene in Rio de Janeiro from the 1960s onwards seems to require the reconstruction of possible partnerships between the photographer and other actors of that period. We will analyze three episodes that enabled Alair Gomes to establish professional collaborations and photographic projects: photographing the property of landscape artist Burle Marx; establishing a dialogue with the designer Aloisio Magalh�es; and participating in the publication of a book bythe North American graphic designer Quentin Fiore. The analysis of these episodes introduces and brings together scattered cases that so far could be followed up with greater attention and research rigor. We discuss the construction of Alair Gomes? artistic context, which, as proposed, cannot be disregarded in the evaluation of his photographic works.Keywords:Photography; Alair Gomes; Roberto Burle-Marx; Aloisio Magalh�es; Quentin Fiore
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Davydova, K., G. Kuschk, L. Hoegner, P. Reinartz, and U. Stilla. "CONSISTENT MULTI-VIEW TEXTURING OF DETAILED 3D SURFACE MODELS." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences II-3/W4 (March 11, 2015): 25–31. http://dx.doi.org/10.5194/isprsannals-ii-3-w4-25-2015.
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Texture mapping techniques are used to achieve a high degree of realism for computer generated large-scale and detailed 3D surface models by extracting the texture information from photographic images and applying it to the object surfaces. Due to the fact that a single image cannot capture all parts of the scene, a number of images should be taken. However, texturing the object surfaces from several images can lead to lighting variations between the neighboring texture fragments. In this paper we describe the creation of a textured 3D scene from overlapping aerial images using a Markov Random Field energy minimization framework. We aim to maximize the quality of the generated texture mosaic, preserving the resolution from the original images, and at the same time to minimize the seam visibilities between adjacent fragments. As input data we use a triangulated mesh of the city center of Munich and multiple camera views of the scene from different directions.
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Mélou, J., A. Laurent, C. Fritz, and J. D. Durou. "3D DIGITIZATION OF HERITAGE: PHOTOMETRIC STEREO CAN HELP." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-2/W1-2022 (December 8, 2022): 145–52. http://dx.doi.org/10.5194/isprs-archives-xlviii-2-w1-2022-145-2022.
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Abstract. There are mainly two families of photographic 3D reconstruction. Photogrammetry techniques work according to the principle of triangulation, from the matching of different views, while photometric techniques link the appearance of a 3D point to the orientation of its normal, relative to the direction of the incident light. While photogrammetry allows to find the global shape of a 3D scene, if it is sufficiently textured, photometric techniques highlight the details of the relief, as long as the model linking the lighting to the shape and reflectance of the scene is sufficiently realistic. In order to avoid errors in the 3D models obtained, all the photographic techniques of 3D reconstruction have benefited, over the years, from algorithmic improvements that make them more and more robust to outliers or unreliable data. Moreover, the complementarity between these two types of approaches having been identified for a long time, many solutions have been proposed to merge them. Our work aims at providing the free and open-source photogrammetry software Meshroom with the benefits it could get from photometric stereo, particularly in the context of the 3D digitization of heritage, knowing that it is the only photometric technique for 3D reconstruction that has really proven itself.
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Kotamanidou, Nina. "BALANCE OF PRIVATE IMAGE AND MEMORY." Design/Arts/Culture 3, no. 1 (January 23, 2023): 43–56. http://dx.doi.org/10.12681/dac.31499.
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The invention of photography was followed by its extensive usage as visual documentation of any possible scene, by nature, human, object or event. The watchful eye of the camera was hailed as an impassive observer of facts, a witness that tells no lies entrusted with the preservation of public and personal histories. Under these assumptions it was connected with the crystallization of collective memory as well as the wide initiation of private archiving in the form of the family album, especially when easy-to-use camera technology became commercially affordable. In this short essay, accepting a line of continuity between snapshots and networked photographs despite technological and cultural ruptures, their attributes and uses will be held accountable for providing a mediated, visual shelter to notions of personal and collective memory. Although this kind of imagery is deemed non-art, my approach is conducted as an art-fuelled investigation, with a mind to set a field of potent exchanges between memory function and images for cultural negotiation. For that, using interdisciplinary discursive analysis I will look at the evolution of photographic imagery from snapshot to networked within a branch of personal, self-produced representations that have affected both our autobiographical referencing and collective remembrance. The notion of memory, as the performative interaction between person, technology, media and narrative will be seen against snapshot and networked photography as an informal, meaning-making tactic. In particular, network photography is acknowledged mainly through its manifestations on visual posts on Facebook or Instagram. While snapshots as a genre satisfied the need to handle privately the visual documentation of our past and allegedly keep time frozen, networked photographs establish memory in fluidity as remembrance of the present moment just-turned-into-past. The above positioning prompts a bipartite question: (a) do networked photographs support memory on a personal and collective level in ways similar to snapshot culture, and (b) in the advent of changes has the flow of memory been altered?
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Jiang, Zhuohan, D. Merika W. Sanders, and Rosemary A. Cowell. "Visual and semantic similarity norms for a new object and scene photographic image set." Journal of Vision 20, no. 11 (October 20, 2020): 1567. http://dx.doi.org/10.1167/jov.20.11.1567.
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Rolf, Cristin M., and Kenneth E. Gallagher. "Hypothermic Death in the Arctic State." Academic Forensic Pathology 8, no. 1 (March 2018): 64–82. http://dx.doi.org/10.23907/2018.005.
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Hypothermic deaths are seen across the United States, but are more commonly seen in Alaska compared to the other states due to its northern latitude and variable climate. Vulnerable populations, such as the homeless and people with substance abuse are at increased risk. Our approach is to examine the scene circumstances, patient health factors, and autopsy findings to arrive at an accurate categorization of cause and manner of death in these cases. Literature on hypothermia is reviewed and various features of hypothermia including scene findings and pathophysiological findings of the victims are discussed. Various Alaskan cases demonstrating common features seen in hypothermia death are discussed. Photographic demonstration of the typical findings in the cases are shown and described. Methods of diagnosis and prevention are given at the conclusion of the article.
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Zhang, Dora. "A Lens for an Eye: Proust and Photography." Representations 118, no. 1 (2012): 103–25. http://dx.doi.org/10.1525/rep.2012.118.1.103.
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Returning to a famous scene in A la recherche du temps perdu when the narrator sees his grandmother as if his eye were a lens, this paper takes seriously the objectivity attributed to photographic vision in order to trace its consequences for our sense of self. I argue that objective sight is traumatic not because it reveals the future nonexistence of things, but because it reveals the continued existence of things in our absence, signaling thereby the contingency of the perceiving subject.
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Amathes, Pyrrhon, and Paul Christodoulides. "Interpreting Locked Photographic Data: The Case of Apollo 17 Photo GPN-2000-00113." Designs 5, no. 1 (February 8, 2021): 8. http://dx.doi.org/10.3390/designs5010008.
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Photography can be used for pleasure and art but can also be used in many disciplines of science, because it captures the details of the moment and can serve as a proving tool due to the information it preserves. During the period of the Apollo program (1969 to 1972), the National Aeronautics and Space Administration (NASA) successfully landed humans on the Moon and showed hundreds of photos to the world presenting the travel and landings. This paper uses computer simulations and geometry to examine the authenticity of one such photo, namely Apollo 17 photo GPN-2000-00113. In addition, a novel approach is employed by creating an experimental scene to illustrate details and provide measurements. The crucial factors on which the geometrical analysis relies are locked in the photograph and are: (a) the apparent position of the Earth relative to the illustrated flag and (b) the point to which the shadow of the astronaut taking the photo reaches, in relation to the flagpole. The analysis and experimental data show geometrical and time mismatches, proving that the photo is a composite.