Relevant bibliographies by topics / Photographic techniques

Academic literature on the topic 'Photographic techniques'

Author: Grafiati
Published: 26 July 2024
Last updated: 27 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Photographic techniques.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Photographic techniques"

1

Feldmann, Rodney M. "Photographic procedures." Paleontological Society Special Publications 4 (1989): 336–41. http://dx.doi.org/10.1017/s2475262200005311.

Full text
Abstract:
Preparation of appropriate photographs is absolutely essential in conveying paleontological information. The effort expended in adequate cleaning and preparation of specimens is not only reflected in exposing the detail of material so that it can be properly described but also in permitting the morphologic information to be transmitted to others through photography. Therefore the purpose of this chapter is to describe the general procedures involved in preparing high quality, publishable photographs because special techniques related to photography of microfossils will be treated elsewhere, the emphasis within this chapter will be upon photography of macrofossils, specimens large enough to be photographed using a normal spectrum of photographic lenses and extension tubes. Because nearly all paleontological material is illustrated as black and white photographs, no reference will be made to the preparation of color illustrations.
APA, Harvard, Vancouver, ISO, and other styles
2

Damarjati and Yuka Dian Narendra. "Photography Exploration Training using Still Life Techniques for Karmel Tangerang Vocational School Students." Indonesian Journal of Advanced Research 3, no. 1 (January 30, 2024): 95–104. http://dx.doi.org/10.55927/ijar.v3i1.7851.

Full text
Abstract:
Photography techniques that are supported by equipment that makes it easier for users make this medium increasingly popular with people from all walks of life. Photography has become part of various life activities. Not only selfies, photography has been used in all human activities. Millions of images are produced every day and published on social media pages. This phenomenon aligns that photography has become the property of all society, not just photographers. So the quality of the resulting photos is not just a photograph but can have its own value both in terms of aesthetics and function. For this reason, through training at Karmel Vocational School, it is hoped that it can help hone students' skills so that they can produce photos with the correct techniques so as to produce marketable photographic works with attractive quality. Training with a direct learning method using camera equipment, lighting, object layout, both the background and the objects to be photographed. With this direct learning, it is hoped that students will be able to experiment and explore directly the photo objects they will be photographing. Problems discovered during shooting can be discussed directly to produce maximum photos and provide new knowledge about the techniques of photographing objects/still life.
APA, Harvard, Vancouver, ISO, and other styles
3

Klingle, Matthew. "River Glass." Boom 5, no. 2 (2015): 42–51. http://dx.doi.org/10.1525/boom.2015.5.2.42.

Full text
Abstract:
This essay by historian Matthew Klingle compares the work of Carleton Watkins, a pioneer in early photography, and Michael Kolster, a contemporary photographer. Like his predecessor, Kolster uses the wet-plate photographic process to create ambrotypes: handmade images made on glass. Watkins’s images, made in the late-nineteenth century, helped to sell scenic, monumental California and the West to the nation. In contrast, Kolster’s photographs of the Los Angeles River, a degraded and often ignored urban waterway, suggest how older photographic techniques might be employed to create new aesthetics of place freed from the confines of purity and beauty.
APA, Harvard, Vancouver, ISO, and other styles
4

Swan, Dean G., and Larry C. Burrill. "Plant Photography Techniques." Weed Technology 4, no. 3 (September 1990): 666–70. http://dx.doi.org/10.1017/s0890037x00026191.

Full text
Abstract:
Accurate identification is the first step in weed control. Weed photography is important because a good picture, plus a descriptive botanical key, more accurately identifies plants. Also, quality pictures provide an important learning tool for students, agribusiness personnel, and producers. This paper includes recommendations for selecting photographic equipment and film as well as practical techniques for controlling backgrounds, light, plant movement, and depth of field in photographing plants.
APA, Harvard, Vancouver, ISO, and other styles
5

Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.

Full text
Abstract:
In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
APA, Harvard, Vancouver, ISO, and other styles
6

Magurean, Irina Dora, Andrei Picos, Lucia Timis, Alina Picos, and Dinu I. Dumitrascu. "The Evolution of Photographic Arts Is Linked to Progress in Chemistry: A Review of Two Centuries of Symbiosis." Journal of Research in Philosophy and History 3, no. 2 (November 11, 2020): p153. http://dx.doi.org/10.22158/jrph.v3n2p153.

Full text
Abstract:
Photography is a major component of present art. It has applications in arts, in sciences and mainly health sciences, in social interaction. The evolution of photography since its advent 200 years ago relied and was dependent on the knowledge of chemistry. This is a review of the chemical techniques used in the recording and reproduction of photographs and of its applications. In the last two centuries, numerous chemical substances: inorganic, organic and polymeric, influenced the aspect and quality of the photographic techniques and of photographs. Teaching photography requires knowledge of chemistry, while chemistry education needs knowledge of esthetics as offered by photography.
APA, Harvard, Vancouver, ISO, and other styles
7

Putra, Sandy Dwi, and Kankan Kasmana. "Interior Photograph Experiment of The House Tour Hotel Bandung." ARTic 3, no. 1 (December 15, 2020): 259–76. http://dx.doi.org/10.34010/artic.v3i2.3696.

Full text
Abstract:
The rapid advancement of information and communication technology influences the growth of creative industries such as firms in the fields of architecture, real estate and interior. The firm uses the advantages of information and communication technology, namely the internet and social media to conduct marketing. The use of social media as a marketing strategy of real estate and interior firms today is increasingly used as a promotional medium. The use of photos especially for interior promotion requires good photography techniques, has the power to stir consumer perception of interior services. This research aims to conduct photography experiments on the interior of The House Tour Hotel, designed by an architecture firm called Be Good Design Architect, this experiment was conducted to find out the techniques of photography in photographing the interior. The method used is photography experimentation using photography techniques based on literature and photographic methods from interviews with professional photographer Mario Wibowo. The result of this experiment is interior photo taken from the bedroom room of The House Tour Hotel.
APA, Harvard, Vancouver, ISO, and other styles
8

Pevec, Iza, and Lukas Birk. "Keeping a Story Alive: Interview with Lukas Birk." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 4–13. http://dx.doi.org/10.47659/m5.004.int.

Full text
Abstract:
The work of an Austrian artist Lukas Birk can be connected to some dilemmas of documentary photography. If the critique of the classical documentary photography stresses the responsibility towards the photographed subject and the problem of the exoticization for the western view, Birk’s work is often developed, displayed and distributed in the place where his projects are created. Therefore, the first audience of his projects are locals and are, in that way, maybe more closely connected to the project itself. He co-founded the Austro Sino Arts Program in China and founded a residency program SewonArtSpace in Yogyakarta, Indonesia. The project Afghan Box Camera, which he developed with the ethnographer Sean Folley, focuses on the photographic praxis in Afghanistan, mainly on the type of a simple instant camera, which was traditionally used there but its use is now in decline. They investigated the origins, techniques and the many personal stories of the photographers using or having used this type of camera and also made instructional videos on how to build or use one. Attention to the overlooked photographic practices, history and contexts marks also his current project The Myanmar Photo Archive, a growing collection of Myanmar photographs that were created during and after the colonial period – the work of local photographers from that period has namely remained unknown until today. Keywords: local history, Myanmar photography, photographic backdrop, western view
APA, Harvard, Vancouver, ISO, and other styles
9

Maričević, Marko, Petra Ptiček, and Ivana Žganjar. "Recognition Model of Counterfeiting Digital Records of Biometric Photographic Image." Tehnički glasnik 16, no. 1 (February 4, 2022): 67–73. http://dx.doi.org/10.31803//tg-20210714171523.

Full text
Abstract:
Biometric portrait as one of the most important means of identifying requirements through strict definition of dimensional relationships, preservation of realistic information about all technical characteristics of the photographic image, so that all biometric values can be digitized and used in recognition. The great variety and accessibility of applications for digital processing of digital record of a photographic image has enabled a visually convincing display of a forged photograph that leaves a different impression on the viewer and transmits a different, that is, a forged message. Due to the need to prove the authenticity of the digital record of the photographic image, methods have been developed for the analysis of the record that can detect deviations from the real record even when there are no visual signs of processing the photographic image. Not all analysis techniques can detect certain methods of photo manipulation, so multiple digital photography detection and analysis techniques need to be applied. In order to prove its authenticity, the scientific paper deals with methods for analysis and detection of forgery of digital photography with respect to the digital record and the structure of JPEG format.
APA, Harvard, Vancouver, ISO, and other styles
10

Apriyadi, Wiwid Widya, Arti Wulandari, and Oscar Samaratungga. "Yogyakarta Dalam Fotografi Impresionisme." spectā : Journal of Photography, Arts, and Media 5, no. 1 (March 17, 2022): 51–60. http://dx.doi.org/10.24821/specta.v5i1.5007.

Full text
Abstract:
Yogyakarta in The Impressionism Photography. The creation of photographic works with the title “Yogyakarta in Impressionism Photography” aims to present the scenery of Yogyakarta area using photographic techniques that look like an impressionist painting. The main objects in these photographic works are historical and natural tourist attractions in Yogyakarta area. The intensity of experience and feeling conveyed in this creation of photographic work are the feeling of boredom of the routines that are carried out in photographing, especially taking landscape photography. The method implemented for the photo creation was to have exploration and experimentation in photographing landscapes. Exploration and experimentation are conducted by moving the camera around the object or moving the camera during the image recording process. The result of the creation of this artwork is that photographic works resemble the impressionist paintings. ABSTRAKPenciptaan karya fotografi dengan judul "Yogyakarta dalam Fotografi Impresionisme" bertujuan untuk menampilkan objek pemandangan Yogyakarta yang dikemas dengan teknik fotografi dengan visualisasi berbentuk seperti lukisan impresionisme. Objek utama dalam penciptaan karya fotografi ini adalah tempat wisata bersejarah dan wisata alam di kawasan Yogyakarta. Intensitas pengalaman dan perasaan yang dituangkan dalam penciptaan karya fotografi ini adalah rasa jenuh terhadap rutinitas yang dilakukan dalam memotret, terutama memotret fotografi panorama. Rasa jenuh ini mendorong untuk melakukan eksplorasi dan eksperimentasi dalam memotret panorama. Eksplorasi dan eksperimentasi dilakukan dengan cara melakukan pemotretan memutari objek dan menggerakkan kamera pada saat proses perekaman gambar.Hasil dari penciptaan karya seni ini adalah karya fotografi dengan kesan lukisan impresionisme.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Photographic techniques"

1

Phillips, Carlos. "Photographic transformations and greyscale pictures." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101163.

Full text
Abstract:
We have introduced a geometry which is invariant to certain forms of burning and dodging photographic prints. We then used this geometry to create invariant measurements which represent information which would not change given different photographic printing processes.
The presented algorithm used properties of best-fit planes to represent a photograph. There are many other possibilities for measurements which would fit this framework. Further, the representation of photographs presented in this thesis could be combined with existing computer vision algorithms for such tasks as object recognition within photographs for which we do not know the development process.
APA, Harvard, Vancouver, ISO, and other styles
2

Carstens, Andries Theunis. "Digitising photographic negatives and prints for preservation." Thesis, Cape Peninsula University of Technology, 2013. http://hdl.handle.net/20.500.11838/1355.

Full text
Abstract:
A DISSERTATION PRESENTED TO THE FACULTY OF INFORMATICS AND DESIGN OF THE CAPE PENINSULA UNIVERSITY OF TECHNOLOGY IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MAGISTER TECHNOLOGIAE PHOTOGRAPHY CAPE PENINSULA UNIVERSITY OF TECHNOLOGY 2013
This study deals with the pitfalls and standards associated with the digitisation of photographic artefacts in formal collections. The popularity of the digital medium caused a rapid increase in the demand for converting images into digital files. The need for equipment capable of executing the task successfully, the pressure on collection managers to display their collections to the world and the demand for knowledge needed by managers and operators created pressure to perform optimally and often in great haste. As a result of the rush to create digital image files to be displayed and to be preserved, the decisions that are being made may be questionable. The best choice of file formats for longevity, setting and maintaining standards to guarantee quality digital files and consultation with experts in the field of digitisation as well as attention to best practices are important aspects which must be considered. In order to determine the state of affairs in countries with an advanced knowledge and experience in the field of digitisation, a comprehensive literature study was done. It was found that enough information exists to enable collection managers in South Africa to make well informed decisions to ensure a high quality of digital collection. By means of questionnaires, a survey was undertaken amongst selected Western Cape image preservation institutions to determine the level of knowledge of the managers who are required to make informed decisions. The questionnaire was designed to give insight into choices being made regarding the technical quality, workflow and best practice aspects of digitisation. Comparing the outcome of the questionnaires with best practices and recommended standards in countries with an advanced level of experience it was found that not enough of this experience and knowledge is used by local collection managers although readily available. In some cases standards are disregarded completely. The study also investigated by means of questionnaires the perception of the digital preservation of image files by fulltime photographic students and volunteer members of the Photographic Society of South Africa. It was found that uncertainty exist within both groups with regard to file longevity and access to files in five to ten year's time. Digitisation standards are set and maintained by the use of specially designed targets which enable digitising managers to maintain control over the quality of the digital content as well as monitoring of equipment performance. The use of these targets to set standards were investigated and found to be an accurate and easy method of maintaining control over the standard and quality of digital files. Suppliers of digitising equipment very often market their equipment as being of a high quality and being able to fulfil the required digitisation tasks. Testing selected digitising equipment by means of specially designed targets proved however that potential buyers of equipment in the high cost range should be very cautious about suppliers' claims without proof of performance. Using targets to verify performance should be a routine check before any purchase. The study concludes with recommendations of implementing standards and it points to potential future research.
APA, Harvard, Vancouver, ISO, and other styles
3

Santa, Clara Miguel Eduardo. "The application of digital photographic technologies to lighting research." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609406.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Heiss, Detlef Guntram. "Calibrating the photographic reproduction of colour digital images." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/24680.

Full text
Abstract:
Colour images can be formed by the combination of stimuli in three primary colours. As a result, digital colour images are typically represented as a triplet of values, each value corresponding to the stimulus of a primary colour. The precise stimulus that the eye receives as a result of any particular triplet of values depends on the display device or medium used. Photographic film is one such medium for the display of colour images. This work implements a software system to calibrate the response given to a triplet of values by an arbitrary combination of film recorder and film, in terms of a measurable film property. The implemented system determines the inverse of the film process numerically. It is applied to calibrate the Optronics C-4500 colour film writer of the UBC Laboratory for Computational Vision. Experimental results are described and compared in order to estimate the expected accuracy that can be obtained with this device using commercially available film processing.
Science, Faculty of
Computer Science, Department of
Graduate
APA, Harvard, Vancouver, ISO, and other styles
5

Cedillos, Elizabeth M. "Use of Intelligent Tutor Dialogues on Photographic Techniques: Explanation versus Argumentation." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1386087498.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Polignano, Sergio. "Do sensivel a significação : uma poetica da fotografia." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284754.

Full text
Abstract:
Orientador: Ernesto Giovanni Boccara
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-07T06:14:51Z (GMT). No. of bitstreams: 1 Polignano_Sergio_M.pdf: 19138121 bytes, checksum: a2a1fa7467459819c2d2f07679e2acbd (MD5) Previous issue date: 2006
Resumo: Este trabalho propõe uma abordagem conceitual, dos diversos conteúdos da imagem fotográfica, a sua leitura e decodificação, que vai da sensibilidade aos significados. Apresenta uma proposta de análise que busca justificar e demonstrar a condição da poética (Arte) da fotografia. Nesse sentido, mostra o que de incomum pode deter o olhar que eterniza e o olhar que ressuscita, dando um real valor às imagens fotográficas, sejam elas quais forem e mostrem o que de mais importante possam mostrar, mantendo as informações ao longo do tempo. Desse modo, busca contribuir para uma melhor compreensão da época em que as fotografias foram feitas, dos cenários que as mesmas registram, de seus contextos, assim como das implicações e relações que tenham com as formas de expressão diferenciadas, que chamamos: Arte
Abstract: This work proposes an conceptual approach to the various contents of photographic image, its interpretation, and decoding, which goes from sensibility to signification; it brings a proposal for an analysis that can effectively justify and demonstrate the condition of poetry (art) of photography, showing which of its uncommon aspects can capture the point of view that makes it eternal and the point of view that resuscitates it, bringing the real value to photographic images, being them whatever they are, showing whatever most important subject they can hold, maintaining their image content throughout time, and serving for a better understanding of the time in which photographs were taken, their scenarios, contexts, implications, and relationships that they have with the different forms of expression that we cal!: Art
Mestrado
Mestre em Artes
APA, Harvard, Vancouver, ISO, and other styles
7

Hardesty, Rudd Matthew. "Development of sensitometric techniques for the characterization of stereolitographic resins /." Online version of thesis, 1994. http://hdl.handle.net/1850/11735.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Sparrow, Ryan J. "Photographic disconnect : examining the divide between newspaper photographers and designers on the matter of digital alteration of photographs on the front page." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391238.

Full text
Abstract:
This study explores the differences in attitude held by newspaper photographers and designers concerning the acceptability of digitally altering front-page photographs. It takes its findings from a summer 2006 survey that asked these two newsroom groups to rate their acceptance of certain common techniques used to change photographs from their original forms. Their answers revealed that designers are generally more accepting of altered photographs than their photographer colleagues. Also, photographers are more likely to find acceptable those photographs altered for technical reasons than for aesthetic ones. Least acceptable to photographers, this study finds, are alterations that affect a photograph's content.
Department of Journalism
APA, Harvard, Vancouver, ISO, and other styles
9

McQuade, Patrick John Art College of Fine Arts UNSW. "Visualising the invisible :articulating the inherent features of the digital image." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43307.

Full text
Abstract:
Contemporary digital imaging practice has largely adopted the visual characteristics of its closest mediatic relative, the analogue photograph, In this regard, new media theorist Lev Manovich observes that "Computer software does not produce such images by default. The paradox of digital visual culture is that although all imaging is becoming computer-based, the dominance of photographic and cinematic imagery is becoming even stronger. But rather than being a direct, "natural" result of photo and film technology, these images are constructed on computers" (Manovich 2001: 179), Manovich articulates the disjuncture between the technical processes involved in the digital image creation process and the visual characteristics of the final digital image with its replication of the visual qualities of the analogue photograph. This research addresses this notion further by exploring the following. What are the defining technical features of these computer-based imaging processes? Could these technical features be used as a basis in developing an alternative aesthetic for the digital image? Why is there a reticence to visually acknowledge these technical features in contemporary digital imaging practice? Are there historic mediated precedents where the inherent technical features of the medium are visually acknowledged in the production of imagery? If these defining technical features of the digital imaging process were visually acknowledged in this image creation process, what would be the outcome? The studio practice component of the research served as a foundation for the author's artistic and aesthetic development where the intent was to investigate and highlight four technical qualities of the digital image identified through the case studies of three digital artists, and other secondary sources, These technical qualities include: the composite RGB colour system of the digital image as it appears on screen; the pixellated microstructure of the digital image; the luminosity of the digital image as it appears on a computer monitor, and the underlying numeric and (ASCII based) alphanumeric codes of the image file which enables that most defining feature of the image file, that of programmability, Based on research in the visualization of these numeric and alphanumeric codes, digital images of bacteria produced through the use of the scanning electron microscope, were chosen as image content for an experimental body of work to draw the conceptual link between these numeric and alphanumeric codes of the image file and the coded genetic sequence of an individual bacterial entity.
APA, Harvard, Vancouver, ISO, and other styles
10

Gavard, Sandra. "Photo-graft : a critical analysis of image manipulation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/MQ54990.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Photographic techniques"

1

Mark, Galer, ed. Photographic lighting. 2nd ed. Oxford: Focal, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Leach, Sid DelMar. Photographic perspective drawing techniques. New York: McGraw-Hill, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Hedgecoe, John. John Hedgecoe's Photographic techniques. New York: Simon and Schuster, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Reed, Vilia. Professional photographic retouching techniques. Rochester, N.Y: Eastman Kodak Co., 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

David, Litschel, and Davis Robert, eds. Digital photographic capture. Amsterdam: Elsevier/Focal Press, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Aronoff, Janee, Nyree Costello, Gavin Cromhout, and Vikas Shah. Photoshop 7 Professional Photographic Techniques. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-0779-5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Leboffe, Michael J. Photographic atlas for the microbiology laboratory. Englewood,co: Morton, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Judy, Martin. Handtinting Photographs: Materials, Techniques and Special Effects. London, England: Macdonald Orbis, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Marr, Don. Beginner's Guide to Photographic Lighting. Chicago: Amherst Media, Inc., 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Davies, Adrian. Digital imaging for photographers. 3rd ed. Oxford: Focal Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Photographic techniques"

1

DiMaggio, John A., and Wesley Vernon. "Photographic Techniques." In Forensic Podiatry, 27–49. Totowa, NJ: Humana Press, 2010. http://dx.doi.org/10.1007/978-1-61737-976-5_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Druker, Elina. "Chapter 8. In and out of focus." In Children’s Literature, Culture, and Cognition, 189–209. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.08dru.

Full text
Abstract:
Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalistic work to her repertoire. Traces of all these genres are evident in her photographic picturebooks. They express realist and documentary ambitions, aiming to capture the perspective of the individuals portrayed, but at the same time their images are staged and embedded in a narrative, which affects their expression and style. Riwkin’s choice to work with children’s literature also raises questions about women photographers’ position within the field of photography. How were women photographers perceived within different types of photography? Should the aim to work with children’s books be understood in relation to the artist’s socially engaged approach or was it seen as particularly suitable for a female photographer? Since Riwkin was one of the pioneering women photographers in Europe, the reception of her work is of utmost interest, both when it comes to contemporary critique and the perception of her work in later photographic research.
APA, Harvard, Vancouver, ISO, and other styles
3

da Machado, L. E. S. "A Photographic Astrometric Telescope for Brazil." In Astrometric Techniques, 229–30. Dordrecht: Springer Netherlands, 1986. http://dx.doi.org/10.1007/978-94-009-4676-7_27.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Aronoff, Janee, Nyree Costello, Gavin Cromhout, and Vikas Shah. "Hand Coloring Techniques." In Photoshop 7 Professional Photographic Techniques, 143–54. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-0779-5_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Aronoff, Janee, Nyree Costello, Gavin Cromhout, and Vikas Shah. "Magazine Retouching Techniques." In Photoshop 7 Professional Photographic Techniques, 157–85. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-0779-5_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Murry, Natalie. "Adding Photographic Elements to a Composite." In Digital Forensic Art Techniques, 167–85. Boca Raton, FL : CRC Press, [2018]: CRC Press, 2018. http://dx.doi.org/10.4324/9781351047166-10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Aronoff, Janee, Nyree Costello, Gavin Cromhout, and Vikas Shah. "Introduction." In Photoshop 7 Professional Photographic Techniques, 1–5. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-0779-5_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Aronoff, Janee, Nyree Costello, Gavin Cromhout, and Vikas Shah. "Infra-red Imaging and Cross-processing." In Photoshop 7 Professional Photographic Techniques, 207–18. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-0779-5_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Aronoff, Janee, Nyree Costello, Gavin Cromhout, and Vikas Shah. "Special Effects." In Photoshop 7 Professional Photographic Techniques, 221–42. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-0779-5_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Aronoff, Janee, Nyree Costello, Gavin Cromhout, and Vikas Shah. "Preparing Images for Print and Optimizing for the Web." In Photoshop 7 Professional Photographic Techniques, 245–61. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-0779-5_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Photographic techniques"

1

Kerkhoff, John F. "Photographic Techniques for Accident Reconstruction." In SAE International Congress and Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1985. http://dx.doi.org/10.4271/850248.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Li, Zinuo, Xuhang Chen, Shuqiang Wang, and Chi-Man Pun. "A Large-Scale Film Style Dataset for Learning Multi-frequency Driven Film Enhancement." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/129.

Full text
Abstract:
Film, a classic image style, is culturally significant to the whole photographic industry since it marks the birth of photography. However, film photography is time-consuming and expensive, necessitating a more efficient method for collecting film-style photographs. Numerous datasets that have emerged in the field of image enhancement so far are not film-specific. In order to facilitate film-based image stylization research, we construct FilmSet, a large-scale and high-quality film style dataset. Our dataset includes three different film types and more than 5000 in-the-wild high resolution images. Inspired by the features of FilmSet images, we propose a novel framework called FilmNet based on Laplacian Pyramid for stylizing images across frequency bands and achieving film style outcomes. Experiments reveal that the performance of our model is superior than state-of-the-art techniques. The link of our dataset and code is https://github.com/CXH-Research/FilmNet.
APA, Harvard, Vancouver, ISO, and other styles
3

Aline, Kenneth M., and James A. Dowdall. "Dark Field Photographic Techniques For Documenting Optical Surface Contamination." In 33rd Annual Techincal Symposium, edited by John C. Stover. SPIE, 1990. http://dx.doi.org/10.1117/12.962868.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Shrauger, Vernon E., Laura L. Erwin, and Cardinal Warde. "Computer-generated multiple-phase-level holograms using color printer techniques." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1990. http://dx.doi.org/10.1364/oam.1990.mff2.

Full text
Abstract:
Current techniques for constructing multiple-phase-level structures (e.g., phase holograms) use computer-generated masks to selectively etch a glass substrate, creating discrete phase levels based on varying glass thickness (i.e., kineform). This approach requires several procedural steps and expensive photolithographic equipment. We have developed a one-step technique using color-printer technology and photographic eqipment. Colors from the printer are mapped to discrete intensity levels on photographic emulsion, and bleaching the recorded film results in discrete phase levels. We have investigated the relationship between the optical density of colors generated by our printer and the corresponding phase changes after bleaching.
APA, Harvard, Vancouver, ISO, and other styles
5

Razik, Abdul Halim Abdul, Firdaus Yusof, and Noor Halilah Buari. "Process systems engineering for sustainable photographic lens production: A review." In THE FOURTH SCIENTIFIC CONFERENCE FOR ELECTRICAL ENGINEERING TECHNIQUES RESEARCH (EETR2022). AIP Publishing, 2023. http://dx.doi.org/10.1063/5.0148714.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
7

Kovesi, Peter. "Phase Preserving Tone Mapping of Non-Photographic High Dynamic Range Images." In 2012 International Conference on Digital Image Computing: Techniques and Applications (DICTA). IEEE, 2012. http://dx.doi.org/10.1109/dicta.2012.6411698.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Grant, I., and G. H. Smith. "Recent Advances in Pulsed Laser("Speckle") Velocimetry." In Photon Correlation Techniques and Applications. Washington, D.C.: Optica Publishing Group, 1988. http://dx.doi.org/10.1364/pcta.1988.dsopp207.

Full text
Abstract:
The last decade has seeen the evolution of particle image velocimetry, often refered to as speckle velocimetry, as a new and powerful technique for obtaining simultaneous measurements of the two in-plane components of fluid velocity at all points on a two-dimensional illuminated "sheet". The sheet is produced by passing the output from a pulsed (or chopped CW) laser through a combination of spherical and cylindrical lenses. The sheet is viewed along a normal so that a sequence of stroboscopic images are obtained of the developing flow. These are recorded either on photographic plate or by video camera for post-experiment image processing.
APA, Harvard, Vancouver, ISO, and other styles
9

Bauman, Paul. "New Techniques in Volumetric Imaging and Photographic Documentation of Salt Contaminated Soil." In SPE International Conference on Health, Safety, and Environment in Oil and Gas Exploration and Production. Society of Petroleum Engineers, 2004. http://dx.doi.org/10.2118/86814-ms.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Yu, Francis T. S., Shudong Wu, Andy Mayers, and Sumati Rajan. "Color holographic storage in LiNbO3." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1990. http://dx.doi.org/10.1364/oam.1990.tuaa5.

Full text
Abstract:
Some techniques have been developed for color hologram recording on photographic film. These techniques are applicable to the rainbow hologram1 and the white-light reflection hologram.2 In this paper we demonstrate the recording of color holograms in photorefractive media. The photorefractive crystal is thicker than the photographic emulsion and therefore provides a higher wavelength selectivity for the recording of color holograms. Multiple storage of color holograms is impossible in emulsion.
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Photographic techniques"

1

Pitts, W. K., Nicole M. Dahl, Erin S. Fuller, Bruce D. Geelhood, Randy R. Hansen, Michael A. Knopf, Richard T. Kouzes, and Cory R. Wyatt. A Case Study of Selected Photographic Inspection Techniques for a Transparency Regime. Office of Scientific and Technical Information (OSTI), January 2003. http://dx.doi.org/10.2172/15010190.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Shaw, L. L., and S. A. Muelder. High-resolution imaging of hypervelocity metal jets using advanced high-speed photographic techniques. Office of Scientific and Technical Information (OSTI), August 1995. http://dx.doi.org/10.2172/119980.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Onikzeh, Parinaz, Afshin Heidari, Aida Kazemi, Parisa Najjariasl, Kamran Dalvandi, Hamidreza Sadeghsalehi, and Hadi Zamanian. 3D photography versus digital planimetry in wound measurement : a systematic review protocol. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, October 2021. http://dx.doi.org/10.37766/inplasy2021.10.0069.

Full text
Abstract:
Review question / Objective: The aim of this study is to find whether there is concordance between two methods of wound area measurement: 3D photography and digital planimetry. Condition being studied: One of the most important factors in all types of wound management is wound measurement and two new digital techniques are : digital planimetry and 3D-photography. Eligibility criteria: the articles will be included only if the study cases would be measured by both methods of wound measurement including 3D photography and digital planimetry. patients with wound in any area of their body like diabetic ulcers, venous ulcers or burning. not models or animals.not bite or scar or bruising. without any restriction in age or gender.
APA, Harvard, Vancouver, ISO, and other styles
4

Inanici, Mehlika, and Jim Galvin. Evaluation of High Dynamic Range Photography as a Luminance Mapping Technique. Office of Scientific and Technical Information (OSTI), December 2004. http://dx.doi.org/10.2172/841925.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Keane, Robert E., and Laura J. Dickinson. The photoload sampling technique: estimating surface fuel loadings from downward-looking photographs of synthetic fuelbeds. Ft. Collins, CO: U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station, 2007. http://dx.doi.org/10.2737/rmrs-gtr-190.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Singh, Ravinder, Altafuddin Syd, and Sunil Vaddamanu. Comparative Analysis of Digital Versus Traditional Dental Photography Techniques for Documentation and Analysis: A Systematic Review and Meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, May 2024. http://dx.doi.org/10.37766/inplasy2024.5.0065.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Greaves, C., and J. B. R. Eamer. Focus stacking for cataloguing, presentation, and identification of microfossils in marine sediments. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331355.

Full text
Abstract:
Microfossils represent an important part of studying past depositional environments and determining ages for the strata they are found within. The key to ascribing paleoenvironmental interpretations to the sediments in which a microfossil is found is accurate identification of the microfossil. A number of techniques can be used to identify microfossils, including ones that use key features, morphologies, and characteristics from imagery acquired using a scanning electron microscope. A low-cost, efficient alternative method is digital photography of optical microscope images. This technical note presents a method for acquiring photos of microfossils and two methods for compiling them into high-resolution images using focus stacking. The process is described in four main steps: image acquisition, exportation, focus stacking, and annotation.
APA, Harvard, Vancouver, ISO, and other styles
8

Ruschau. L51771 Alternative Acceptance Criteria of Girth Weld Defects. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), June 1997. http://dx.doi.org/10.55274/r0010187.

Full text
Abstract:
The girth weld defect acceptance standards based on good workmanship reflect quality levels that can be reasonably expected from a qualified welder. Workmanship (WM) or weld quality standards specify a maximum allowable length whilst the percentage loss of cross-sectional area is used for porosities. This approach to defect acceptance philosophy has arisen from the use of radiography as the NDE technique for detecting and quantifyingweld discontinuities. The first WM standard for inspection and acceptance of finished girth welds was implemented by API in 1953. The specific requirements of the 1953-standard were largely based on the Unfired Pressure Vessel Code which was first adopted by ASME in 1931. Since then, a number of slightly revised standards were issued to reflect what should be attainable with normal good welding practices. The failure behaviour of defective girth welds in large diameter pipe lines was assessed using radiographic and mechanized ultrasonic inspection, small scale (tensile, hardness, Charpy and CTOD) and wide plate tests. The specimens were taken from girth welds in API 5LX70 pipe of 1219 mm (48 inches) in diameter by 8,0 mm (0,323 inch) and 13,3 mm (0,524 inch) wall. The test welds were made with the SMAW (8 welds) and GMAW (9 welds) welding processes. Upon completion of the non-destructive tests, 96 curved wide plate specimens were tested to destruction under tensile load. Testing was performed at low temperature (-50�C/-58�F). Defect type, defect position and size were determined from photographs of the fracture face and macro sections (defect characterization and sizing). In total, 290 typical surface breaking and embedded defects in SMAW or GMAW girth welds have been evaluated.
APA, Harvard, Vancouver, ISO, and other styles
9

Atkinson, Dan, and Alex Hale, eds. From Source to Sea: ScARF Marine and Maritime Panel Report. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.126.

Full text
Abstract:
The main recommendations of the panel report can be summarised under four headings: 1. From Source to Sea: River systems, from their source to the sea and beyond, should form the focus for research projects, allowing the integration of all archaeological work carried out along their course. Future research should take a holistic view of the marine and maritime historic environment, from inland lakes that feed freshwater river routes, to tidal estuaries and out to the open sea. This view of the landscape/seascape encompasses a very broad range of archaeology and enables connections to be made without the restrictions of geographical or political boundaries. Research strategies, programmes From Source to Sea: ScARF Marine and Maritime Panel Report iii and projects can adopt this approach at multiple levels; from national to site-specific, with the aim of remaining holistic and cross-cutting. 2. Submerged Landscapes: The rising research profile of submerged landscapes has recently been embodied into a European Cooperation in Science and Technology (COST) Action; Submerged Prehistoric Archaeology and Landscapes of the Continental Shelf (SPLASHCOS), with exciting proposals for future research. Future work needs to be integrated with wider initiatives such as this on an international scale. Recent projects have begun to demonstrate the research potential for submerged landscapes in and beyond Scotland, as well as the need to collaborate with industrial partners, in order that commercially-created datasets can be accessed and used. More data is required in order to fully model the changing coastline around Scotland and develop predictive models of site survival. Such work is crucial to understanding life in early prehistoric Scotland, and how the earliest communities responded to a changing environment. 3. Marine & Maritime Historic Landscapes: Scotland’s coastal and intertidal zones and maritime hinterland encompass in-shore islands, trans-continental shipping lanes, ports and harbours, and transport infrastructure to intertidal fish-traps, and define understanding and conceptualisation of the liminal zone between the land and the sea. Due to the pervasive nature of the Marine and Maritime historic landscape, a holistic approach should be taken that incorporates evidence from a variety of sources including commercial and research archaeology, local and national societies, off-shore and onshore commercial development; and including studies derived from, but not limited to history, ethnology, cultural studies, folklore and architecture and involving a wide range of recording techniques ranging from photography, laser imaging, and sonar survey through to more orthodox drawn survey and excavation. 4. Collaboration: As is implicit in all the above, multi-disciplinary, collaborative, and cross-sector approaches are essential in order to ensure the capacity to meet the research challenges of the marine and maritime historic environment. There is a need for collaboration across the heritage sector and beyond, into specific areas of industry, science and the arts. Methods of communication amongst the constituent research individuals, institutions and networks should be developed, and dissemination of research results promoted. The formation of research communities, especially virtual centres of excellence, should be encouraged in order to build capacity.
APA, Harvard, Vancouver, ISO, and other styles
10

Karlstrom, Karl, Laura Crossey, Allyson Matthis, and Carl Bowman. Telling time at Grand Canyon National Park: 2020 update. National Park Service, April 2021. http://dx.doi.org/10.36967/nrr-2285173.

Full text
Abstract:
Grand Canyon National Park is all about time and timescales. Time is the currency of our daily life, of history, and of biological evolution. Grand Canyon’s beauty has inspired explorers, artists, and poets. Behind it all, Grand Canyon’s geology and sense of timelessness are among its most prominent and important resources. Grand Canyon has an exceptionally complete and well-exposed rock record of Earth’s history. It is an ideal place to gain a sense of geologic (or deep) time. A visit to the South or North rims, a hike into the canyon of any length, or a trip through the 277-mile (446-km) length of Grand Canyon are awe-inspiring experiences for many reasons, and they often motivate us to look deeper to understand how our human timescales of hundreds and thousands of years overlap with Earth’s many timescales reaching back millions and billions of years. This report summarizes how geologists tell time at Grand Canyon, and the resultant “best” numeric ages for the canyon’s strata based on recent scientific research. By best, we mean the most accurate and precise ages available, given the dating techniques used, geologic constraints, the availability of datable material, and the fossil record of Grand Canyon rock units. This paper updates a previously-published compilation of best numeric ages (Mathis and Bowman 2005a; 2005b; 2007) to incorporate recent revisions in the canyon’s stratigraphic nomenclature and additional numeric age determinations published in the scientific literature. From bottom to top, Grand Canyon’s rocks can be ordered into three “sets” (or primary packages), each with an overarching story. The Vishnu Basement Rocks were once tens of miles deep as North America’s crust formed via collisions of volcanic island chains with the pre-existing continent between 1,840 and 1,375 million years ago. The Grand Canyon Supergroup contains evidence for early single-celled life and represents basins that record the assembly and breakup of an early supercontinent between 729 and 1,255 million years ago. The Layered Paleozoic Rocks encode stories, layer by layer, of dramatic geologic changes and the evolution of animal life during the Paleozoic Era (period of ancient life) between 270 and 530 million years ago. In addition to characterizing the ages and geology of the three sets of rocks, we provide numeric ages for all the groups and formations within each set. Nine tables list the best ages along with information on each unit’s tectonic or depositional environment, and specific information explaining why revisions were made to previously published numeric ages. Photographs, line drawings, and diagrams of the different rock formations are included, as well as an extensive glossary of geologic terms to help define important scientific concepts. The three sets of rocks are separated by rock contacts called unconformities formed during long periods of erosion. This report unravels the Great Unconformity, named by John Wesley Powell 150 years ago, and shows that it is made up of several distinct erosion surfaces. The Great Nonconformity is between the Vishnu Basement Rocks and the Grand Canyon Supergroup. The Great Angular Unconformity is between the Grand Canyon Supergroup and the Layered Paleozoic Rocks. Powell’s term, the Great Unconformity, is used for contacts where the Vishnu Basement Rocks are directly overlain by the Layered Paleozoic Rocks. The time missing at these and other unconformities within the sets is also summarized in this paper—a topic that can be as interesting as the time recorded. Our goal is to provide a single up-to-date reference that summarizes the main facets of when the rocks exposed in the canyon’s walls were formed and their geologic history. This authoritative and readable summary of the age of Grand Canyon rocks will hopefully be helpful to National Park Service staff including resource managers and park interpreters at many levels of geologic understandings...
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Photographic techniques' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography