Academic literature on the topic 'Viewing photographs'
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Journal articles on the topic "Viewing photographs"
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Blade, Richard A. "Stereographic Photography on the Computer." International Journal of Virtual Reality 1, no. 2 (January 1, 1995): 40–42. http://dx.doi.org/10.20870/ijvr.1995.1.2.2605.
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The author provides a semi-technical review of the principles of stereographic photography usable without special equipment and discusses the current methods of viewing stereo photographs as computer images. Included is a discussion of recently developed commercial software called Wireframe Express that allows two or more photographic images of an object, taken at different but arbitrary positions, to be joined into a composite 3D model for stereographic viewing from any angle. Among other things, this recent technology allows the virtual reality simulation of historic buildings and rooms to be constructed from currently existing photographs. Illustrations of the points are made with images provided on the CD-ROM.
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Chao, Jenifer. "Portraits of the enemy: Visualizing the Taliban in a photography studio." Media, War & Conflict 12, no. 1 (June 23, 2017): 30–49. http://dx.doi.org/10.1177/1750635217714015.
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This article examines studio photographs of Taliban fighters that deviate from popular media images which often confine them within the visual coordinates of terrorism, insurgency and violence. Gathered in a photographic book known simply as Taliban, these 49 photographs represent the militants in Afghanistan through a studio photography aesthetic, transplanting them from the battlefields of the global war on terror to intimate scenes of pretence and posing. Besides troubling the Taliban’s expected militant identity, these images invite an opaque and oppositional form of viewing and initiate enigmatic visual and imaginative encounters. This article argues that these alternative visualizations consist of a compassionate way of seeing informed by Judith Butler’s notions of precarity and grievability, as well as a viewing inspired by Jacques Rancière’s aesthetic dissensus that obfuscates legibility and disrupts meaning. Consequently, these photographs counter a delimited post-9/11 process of enemy identification and introduce forms of seeing that reflect terrorism’s complexity.
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Kirby, Alun. "No maps for these territories: exploring philosophy of memory through photography." Estudios de Filosofía, no. 64 (July 30, 2021): 47–71. http://dx.doi.org/10.17533/udea.ef.n64a03.
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I begin by examining perception of photographs from two directions: what we think photographs are, and the aspects of mind involved when viewing photographs. Traditional photographs are shown to be mnemonic tools, and memory identified as a key part of the process by which photographs are fully perceived. Second, I describe the metamorphogram; a non-traditional photograph which fits specific, author-defined criteria for being memory. The metamorphogram is shown to be analogous to a composite of all an individual’s episodic memories. Finally, using the metamorphogram in artistic works suggests a bi-directional relationship between individual autobiographical memory and shared cultural memory. A model of this relationship fails to align with existing definitions of cultural memory, and may represent a new form: sociobiographical memory. I propose that the experiences documented here make the case for promoting a mutually beneficial relationship between philosophy and other creative disciplines, including photography.
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Huber, J. W., and I. R. L. Davies. "Perception of Slope in Photographs." Perception 26, no. 1_suppl (August 1997): 179. http://dx.doi.org/10.1068/v970323.
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Perceptions of characteristics of space such as slope, distance, and depth are frequently inaccurate, both in the real world and in pictures. We carried out experiments to study factors that influence the accuracy of perceived slope in photographs. Slopes varied in angle from 5° to 45° inclinations against the horizontal, and in the information available to the observer (outline shape and texture characteristics). We found that perceived slope is correlated with real slope ( r=0.99), but that observers consistently overestimate slope. The latter depends not only on the available information, but also on the focal length of the lens with which slopes were photographed. Overestimation is less pronounced for the wide-angle lens compared to the standard lens. A comparison of free viewing and viewing from the correct station-point showed that the latter leads to less overestimation of slope. Since the viewing distance was too far under free viewing, the results are compatible with geometrical optics. In a further experiment the effects of magnification and minification were studied by deliberately viewing the photographs from fixed points closer or further away than the station-point; this led to an increase and decrease in overestimation, respectively. Finally, results are frequently dependent on task characteristics: magnitude judgements of photographs without an anchoring point can only be accurate to a level of scale. Thus using an action-based matching task may lead to more accurate slope perception. We therefore carried out a comparison experiment using a matching task to check for the generality and action-dependence of our results. Practical implications for the use of photographs as surrogates for natural viewing are discussed.
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Olin, Margaret. "Touching Photographs: Roland Barthes's ''Mistaken'' Identification." Representations 80, no. 1 (2002): 99–118. http://dx.doi.org/10.1525/rep.2002.80.1.99.
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IN CAMERA LUCIDA, ROLAND BARTHES'S subject is the significance of photography's defining characteristic: the photograph's inseparable relation to its subject, that which ''must have been'' in front of the camera's lens. Or so it would seem. The present reading of Camera Lucida argues that Barthes's essay actually shows photography's nature as dependent not only on the intimate relation to its object, commonly termed ''indexical,'' but in accord with its relation to its user, its beholder. An examination of Barthes's encounters with photographs in Camera Lucida reveals the way in which identification and misidentification figure into the viewing of images, and suggests that contact between the beholder and the photograph actually eclipses the relation between the photograph and its subject. Barthes's focus on the emotional response of the viewer disguises the fact that he misidentified key details in Camera Lucida's photographs, most significantly in a 1927 portrait by James Van Der Zee and in the ''Winter Garden Photograph.'' This latter photograph of Barthes's recently deceased mother as a small child is famously not illustrated in the book. This essay argues that it is fictional. These ''mistakes'' suggest that Camera Lucida undermines its ostensible basis in indexicality. The subject did not have to be in front of the camera after all. The present rereading of the text from this point of view articulates a notion of performativity according to which the nature of the contact that exists between the image and the viewer informs the way an image is understood. Barthes's desire to find his mother again through her photograph to a large extent acts out his desire to re(per)form and make permanent his relation to her, a desire that he elucidates in the process of describing his search for her picture and his reaction to it when he finds it. This performative element is charged with identification; the person the narrator (Barthes) seeks, in his mother, is himself. A close analysis of the ''Winter Garden Photograph,'' as described by Barthes, shows how performances of identification are inscribed with gender and familial configurations.
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Lomax, Helen, and Janet Fink. "Interpreting Images of Motherhood: The Contexts and Dynamics of Collective Viewing." Sociological Research Online 15, no. 3 (August 2010): 26–44. http://dx.doi.org/10.5153/sro.2157.
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Our research is concerned with cultural representations of birth and mothering and, as part of this, we are engaged with debates concerning competing theoretical and methodological approaches to the analysis of visual images. In particular we are interested in how meanings of an image are reflexively produced, managed and negotiated. That is, whether and to what extent interpretation is influenced by personal experience, emotion and memory; the ways in which the context of viewing may mediate meaning; and how the relationship between researcher and research subject may shape the interpretative process. In order to explore such questions, this paper draws on the tape-recorded discussion of a group of women collectively viewing images of new mothers. These included photographs of mothers and their newborns taken by the Dutch photographer Rineke Dijkstra, and photographs of us, the authors, as new mothers, taken by our respective families. The paper blends the analytic framework of conversation analysis and discursive psychology in order to consider both our own and the discussants’ responses to these photographs as they emerge through the dynamic and discursive process of collective viewing. In addition we consider the significance of our own and the discussants’ biographies and reproductive experiences, as they are made visible in the talk-in-interaction, for the meanings generated by the group's engagement with the photographs. Through this reflexive approach we highlight the significance of the interplay between broader cultural narratives, genres, memories and experiences for the interpretive process and the analytical challenges posed by collective viewings of images in which meanings are discursively situated, negotiated and silenced.
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Kourtzi, Zoe, and Nancy Kanwisher. "Activation in Human MT/MST by Static Images with Implied Motion." Journal of Cognitive Neuroscience 12, no. 1 (January 2000): 48–55. http://dx.doi.org/10.1162/08989290051137594.
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A still photograph of an object in motion may convey dynamic information about the position of the object immediately before and after the photograph was taken (implied motion). Medial temporal/medial superior temporal cortex (MT/MST) is one of the main brain regions engaged in the perceptual analysis of visual motion. In two experiments we examined whether MT/MST is also involved in representing implied motion from static images. We found stronger functional magnetic resonance imaging (fMRI) activation within MT/MST during viewing of static photographs with implied motion compared to viewing of photographs without implied motion. These results suggest that brain regions involved in the visual analysis of motion are also engaged in processing implied dynamic information from static images.
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Yang, Xiaolan. "The Role of Photographs in Online Peer-to-Peer Lending Behavior." Social Behavior and Personality: an international journal 42, no. 3 (April 15, 2014): 445–52. http://dx.doi.org/10.2224/sbp.2014.42.3.445.
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My purpose in this study was to evaluate the role of photographs in online peer-to-peer lending behavior. I recruited 92 college students to rate trustworthiness or emotion by viewing the photographs of borrowers on a peer-to-peer lending platform. Following this, I showed 209 college students an advertisement with a photograph and asked how much money they would be willing to lend the person in the photograph. The lending amount was higher for advertisements with a photograph rated trustworthy than for a photograph rated untrustworthy, and higher for advertisements with a photograph rated happy than for a photograph rated sad. These results indicate that judgments of both trustworthiness and happiness as perceived in photographs play an important role in lending behaviors.
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Tavakol, Reza. "The time(s) of the photographed." Philosophy of Photography 10, no. 2 (October 1, 2019): 195–206. http://dx.doi.org/10.1386/pop_00015_1.
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The relationship between the photographic and optical images and time has been the subject of great deal of debate. Despite their differences, what many of these considerations have in common is their focus on the receiver, whether mechanical (the camera), biological (the eye‐brain as the optical receiver), social or the memory and imagination of the observer. My aim here is to shift the emphasis from the receiver to the object or vista that is photographed or viewed and to explore how the constraints implied by our modern understanding of the Universe, concerning space and time, impact on the way we perceive photographic and optical images. Viewed from this perspective, photographs can be treated as light projections of sections of the four-dimensional observable world onto two-dimensional spatial photographic or viewing surfaces. I shall show that despite the severe reduction that such projections imply, these modern considerations have the important consequence of bestowing a complex temporality upon optical images, including photographs. This realization dramatically changes the way we view photographs. I give examples of this rich temporality through considerations of terrestrial images ‐ and more significantly images of the Sky, where these temporal effects are far more pronounced.
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Grogan, Sarah, Zoe Williams, and Mark Conner. "The Effects of Viewing Same-Gender Photographic Models on Body-Esteem." Psychology of Women Quarterly 20, no. 4 (December 1996): 569–75. http://dx.doi.org/10.1111/j.1471-6402.1996.tb00322.x.
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This study was designed to investigate the effects of viewing same-gender photographic models on women and men's body-esteem. Women and men completed body-esteem scales before and after viewing pictures of same-gender photographic models (experimental group) or landscapes (control group). Women scored significantly lower than men on the body-esteem scale [ F(1, 90) = 58.5, p < .001]. Women [ F(1, 90) = 8.70, p < .05] and men [ F(1, 90) = 4.17, p < .05] in the experimental group showed a significant decrease in body-esteem after seeing the photographs and the controls showed no significant change [women F(1, 90) = 0.57; men F(1, 90) = 0.00]. Results suggest that upward comparisons are made by women and men when viewing attractive same-gender models.
Dissertations / Theses on the topic "Viewing photographs"
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Dupont, de Dinechin Grégoire. "Towards comfortable virtual reality viewing of virtual environments created from photographs of the real world." Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLM049.
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La reconstitution en réalité virtuelle de lieux, personnes, et objets réels ouvre la voie à de nombreux usages, tels que préserver et promouvoir des sites culturels, générer des avatars photoréalistes pour se retrouver virtuellement avec famille et amis à distance, ou encore recréer des lieux ou situations spécifiques à des fins thérapeutiques ou de formation. Tout cela s'appuie sur notre capacité à transformer des images du monde réel (photos et vidéos) en environnements 360° immersifs et objets 3D interactifs. Cependant, ces environnements virtuels à base d'images demeurent souvent imparfaits, et peuvent ainsi rendre le visionnage en réalité virtuelle inconfortable pour les utilisateurs. En particulier, il est difficile de reconstituer avec précision la géométrie d'une scène réelle, et souvent de nombreuses approximations sont ainsi faites qui peuvent être source d'inconfort lors de l'observation ou du déplacement. De même, il est difficile de restituer fidèlement l'aspect visuel de la scène : les méthodes classiques ne peuvent ainsi restituer certains effets visuels complexes tels que transparence et réflexions spéculaires, tandis que les algorithmes de rendu plus spécialisés ont tendance à générer des artefacts visuels et peuvent être source de latence. Par ailleurs, ces problèmes deviennent d'autant plus complexes lorsqu'il s'agit de reconstituer des personnes, l'oeil humain étant très sensible aux défauts dans l'apparence ou le comportement de personnages virtuels. Par conséquent, l'objectif de cette thèse est d'étudier les méthodes permettant de rendre les utilisateurs plus confortables lors du visionnage immersif de reconstitutions digitales du monde réel, par l'amélioration et le développement de nouvelles méthodes de création d'environnements virtuels à partir de photos. Nous démontrons et évaluons ainsi des solutions permettant (1) de fournir une meilleure parallaxe de mouvement lors du visionnage d'images 360°, par le biais d'une interface immersive pour l'estimation de cartes de profondeur, (2) de générer automatiquement des agents virtuels 3D capables d'interaction à partir de vidéos 360°, en combinant des modèles pré-entrainés d'apprentissage profond, et (3) de restituer des effets visuels de façon photoréaliste en réalité virtuelle, par le développement d'outils que nous appliquons ensuite pour recréer virtuellement la collection d'un musée de minéralogie. Nous évaluons chaque approche par le biais d'études utilisateur, et rendons notre code accessible sous forme d'outils open sourceThere are many applications to capturing and digitally recreating real-world people and places for virtual reality (VR), such as preserving and promoting cultural heritage sites, placing users face-to-face with faraway family and friends, and creating photorealistic replicas of specific locations for therapy and training. This is typically done by transforming sets of input images, i.e. photographs and videos, into immersive 360° scenes and interactive 3D objects. However, such image-based virtual environments are often flawed such that they fail to provide users with a comfortable viewing experience. In particular, accurately recovering the scene's 3D geometry is a difficult task, causing many existing approaches to make approximations that are likely to cause discomfort, e.g. as the scene appears distorted or seems to move with the viewer during head motion. In the same way, existing solutions most often fail to accurately render the scene's visual appearance in a comfortable fashion. Standard 3D reconstruction pipelines thus commonly average out captured view-dependent effects such as specular reflections, whereas complex image-based rendering algorithms often fail to achieve VR-compatible framerates, and are likely to cause distracting visual artifacts outside of a small range of head motion. Finally, further complications arise when the goal is to virtually recreate people, as inaccuracies in the appearance of the displayed 3D characters or unconvincing responsive behavior may be additional sources of unease. Therefore, in this thesis, we investigate the extent to which users can be made more comfortable when viewing digital replicas of the real world in VR, by enhancing, combining, and designing new solutions for creating virtual environments from input sets of photographs. We thus demonstrate and evaluate solutions for (1) providing motion parallax during the viewing of 360° images, using a VR interface for estimating depth information, (2) automatically generating responsive 3D virtual agents from 360° videos, by combining pre-trained deep learning networks, and (3) rendering captured view-dependent effects at high framerates in a game engine widely used for VR development, which we apply to digitally recreate a museum's mineralogy collection. We evaluate and discuss each approach by way of user studies, and make our codebase available as an open-source toolkit
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Barone, Ryan. "Private viewing /." Online version of thesis, 2009. http://hdl.handle.net/1850/9746.
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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.
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Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defined them as the “criminal type,” but I argue prisoners were also depicted in more ambiguous ways that aligned them with “respectable” members of society. I focus on images that compare the worlds inside and outside the prison, which reveal instabilities in representations of “the prisoner” and the ways this figure was defined against a societal norm. Such images draw attention to the act of looking at prisoners and often challenge a notion of the prison as a space of one-sided surveillance.
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Littman, Victoria. "Decolonizing the look, viewing photographic images of the Civil Rights movement." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0016/NQ53708.pdf.
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Love, Johanna. "Dust : exploring the relationship between contemporary modes of viewing the printed photographic image." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5887/.
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This practice-based research project was initiated through and informed by my own fine art practice, and examines how dust may be used as a visual element within contemporary image making to generate new modes of viewing and making. The practical work brings together the digital photographic print (as a landscape image) and images of dust to question how digital photographic surface and drawings of dust may sit together within the same pictorial surface to open up new possibilities of reading space and bringing about new apprehensions of temporality and mortality. Theoretical and philosophical context is considered through two contrasting notions of pictorial orientation, the vertical (Alberti, 1435), and the horizontal plane (Steinberg, 1972)and of the interruptive, physical and metaphorical reading of dust within the reading of the photographic printed image. An assertion of the importance of tactile touch and proximity during image creation is made, referencing the thinking of Aristotle, Heidegger, and Merleau-Ponty. Through an analysis of a number of key artists’ works, including Helen Chadwick’s The Oval Court, Carcass (1986); Man Ray and Duchamp’s Dust Breeding (1920); and Hiroshi Sugimoto’s Seascapes – along with a series of practical investigations using a digital flat bed scanner, the research explores how shifts in making and viewing occur as a consequence of changes in image orientation and materiality, and offer the potential of disruption or interruption in the viewer’s perception of photographic space. The experiments and analysis underpin the central argument of the research and demonstrate how materiality and orientation of making are key aspects of image creation, aspects which can be manipulated to create contradictory visual readings of surface and space. The tension brought about by this visual contradiction opens up new possibilities in the perceptions and meanings within the photographic print, tension further underlined by the significant symbolic and indexical presence of dust within the image.
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Jeff, List. "“From Hidden to (Over-)Exposed”: The Grotesque and Performing Bodies of World War II Nazi Concentration Camp Prisoners." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1191601326.
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Daine, Nicola A. "Heterosexuality at the movies : an auto-ethnographic study of young heterosexual women and their viewing experiences." Thesis, University of Gloucestershire, 2007. http://eprints.glos.ac.uk/1334/.
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This thesis takes a qualitative, auto-ethnographic approach to interrogating heterosexuality via a series of in-depth interviews with young women about their experiences of watching films. I have adopted a feminist approach to the research, locating myself within the project via a series of extracts from research diaries I have kept during the project, reflecting my own position as 'researched' as well as 'researcher'. This auto-ethnographic approach draws on the work of previous theorists researching women's lives from a feminist perspective (e.g. Skeggs: 1995, 1997; Stanley and Wise: 1990, 1993; Maynard and Purvis: 1994).
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Procházka, Václav. "Efektivní tagování fotografií." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2013. http://www.nusl.cz/ntk/nusl-413348.
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This thesis investigates efficient manual image tagging approaches. It specifically focuses on organising images into clusters depending on their content, and thus on simplifying the selection of similar photos. Such selections may be efficiently tagged with common tags. The thesis investigates known techniques for visualisation of image collections according to the image content, together with dimensionality reduction methods. The most suitable methods are considered and evaluated. The thesis proposes a novel method for presenting image collections on 2D displays which combines a timeline with similarity grouping (Timeline projection). This method utilizes t-Distributed Stochastic Neighbour Embedding (t-SNE) for otpimally projecting groupings in high dimensional feature spaces onto the low-dimensional screen. Various modifications of t-SNE and ways to combine it with the timeline are discussed and chosen combination is implemented as a web interface and is qualitatively evaluated in a user study. Possible directions of further research on the subject are suggested.
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Shirley, Anne. "What a photograph can and cannot do: a visual investigation into the social phenomena of photographs as a memory device." 2008. http://hdl.handle.net/10292/455.
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As members of extended families and genealogical lines we collect and view photographs to remember. By situating the present investigation within the context of archival family photographic collections, this research seeks to understand the assumptions surrounding the interplay between the practice of viewing photographs and notions of remembering. Historically, photography has been connected to concepts of stability and truth with photographic images acting as a metaphor for ‘real lived experiences’. When a photograph is viewed, whatever was present before the camera is verified. In his seminal text Camera Lucida: Reflections on Photography (1980), French theorist Roland Barthes describes this as ‘a truth to presence’ (Barthes 1980: 84). Barthes links this position to Poststructuralist theory, by determining that photographic signifiers, denotative data, are stable where as the signified, the idea or meaning, is contingent on what a viewer brings to that particular ‘text’. Therefore the viewer relies on denotative data to process meaning. This research explores the ways photographers play with photographic processes to disrupt ideas of stability of meaning surrounding this medium. The visual component of this research explores the expectations that socio-cultural groups, specifically extended families, have when viewing photographs. The subsequent work will endeavour to lay bare the interplay between such expectations and the supposed reliability of the photograph in respect to both meaning and perception. Using an archive of my own extended family’s collection of photographs, this thesis seeks to disrupt the story-telling qualities of photographs. This interruption strategy points to poststructuralist discourses surrounding the stability of the photographic image and the context in which photography is grounded. The work will challenge viewers to re-assess what the photograph can or cannot do. The final work will be comprised of 80% practice and 20% exegesis.
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Wang, Jia-Hong, and 翁嘉鴻. "Achieving Floating 3D Image with Applying Integral Photography Theory in Oblique Viewing Angle." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/19481816671249812222.
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碩士國立交通大學
光電工程研究所
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With the rapid growth of the three-dimensional (3D) stereoscopic image technology, the various application and potential has become more and more important in our modern life. However, comparing with the “pop out” 3D image in the direct viewing angle presented by the flat panel display and movie, the fantastic “floating” 3D image which allows people to perceive and interact with in the sci-fi movie is more and more attractive. Therefore, the floating 3D image is undoubtedly the brand new landmark of the display technology in the next generation. To achieve the target, 3D image in oblique viewing angle, in other words, the floating 3D image is the essential technology. Nevertheless in nowadays, floating image confronts the issues on the inconvenience feature, limitation of application and the volumetric characteristic. The technology is not mature enough for the user-friendly requirement. Hence, we apply a simple concept to achieve the floating 3D image and expect the concept could be applied on various structures, including projector and mobile device. The concept is integral photography (IP) theory in oblique viewing angle. Different with the disparity method of modern 3D technology, which gives different views to our left and right eye to form the 3D image, IP theory reconstructs the light field, showing true 3D image without causing visual fatigue. Among our research, the effect and issue of projection type and display type integral image (InI) in oblique viewing angle with applying micro lens array and pinhole array are discussed in detail. Moreover, a human factor experiment is done. The different factors such as floating height and viewing angle that may influence the image quality of the floating InI are also carefully analyzed. The research applies IP theorem on projector and mobile device, achieving good floating 3D image with simple structure and convenient adjustment and showing various applications and freedom for this concept. Furthermore, the true 3D image with light field reconstruction could satisfy the interaction requirement; the rapid calculation with computational algorithm could draft the image content without the capture stage, enhancing the freedom of the displaying image and also showing the potential for discussion with many kinds of factors in the future. The research would lead us step by step to the fantastic and charming world of floating 3D image technology.
Books on the topic "Viewing photographs"
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Through the viewing glass: Reflections on photographing children. New York: Atria Books, 2004.
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Magic 3D: Discover the revolutionary world of photographic free-viewing. London: Stanley Paul, 1995.
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Perspectives: Modes of viewing and knowing in nineteenth-century England. Columbus: Ohio State University Press, 2009.
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Library, Women Artists Slide, ed. A second viewing: An exhibition of suffragette banners, posters and photographs. London: The Women Artists Slide Library, 1986.
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Lambert, Phyllis. Viewing Olmsted: Photographs by Robert Burley, Lee Friedlander, and Geoffrey James. The MIT Press, 1997.
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Viewing An American Ethnic Community Rochester New York Italians In Photographs. University Press of America, 2009.
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Photographs, part I: The properties of the J. Paul Getty Museum ... : [auction] Thursday, 5 October 1995 ... : viewing, Saturday, 30 September .. New York: Christie's, 1995.
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Keane, Adrian, and Paul McKeown. 9. Visual and voice identification. Oxford University Press, 2018. http://dx.doi.org/10.1093/he/9780198811855.003.0009.
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This chapter considers the risk of mistaken identification, and the law and procedure relating to evidence of visual and voice identification. In respect of evidence of visual identification, the chapter addresses: the Turnbull guidelines, including when a judge should stop a case and the direction to be given to the jury; visual recognition, including recognition by the jury themselves from a film, photograph or other image; evidence of analysis of films, photographs or other images; pre-trial procedure, including procedure relating to recognition by a witness from viewing films, photographs, either formally or informally; and admissibility where there have been breaches of pre-trial procedure. In respect of evidence of voice identification, the chapter addresses: pre -trial procedure; voice comparison by the jury with the assistance of experts or lay listeners’; and the warning to be given to the jury (essentially an adaption of the Turnbull warning, but with particular focus on the factors which might affect the reliability of voice identification).
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1957-, Burley Robert, Friedlander Lee, James Geoffrey 1942-, Lambert Phyllis, and Centre canadian d'architecture, eds. Viewing Olmsted. Montréal: Canadian Centre for Architecture, 1996.
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FRAMES: VIEWING FINNISH CONTEMPORARY PHOTOGRAPHY. Frame, 1998.
Find full textBook chapters on the topic "Viewing photographs"
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Chen, Jun-Liang, Si-Jing Chen, and Chih-Long Lin. "The Impact of an Actual Visit and Photograph Watching of an Exhibition on Visitor Viewing Experience." In Cross-Cultural Design. Cultural Differences in Everyday Life, 269–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39137-8_30.
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Orvell, Miles. "Atomic War and the Destructive Sublime." In Empire of Ruins, 149–78. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190491604.003.0006.
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This chapter on atomic ruins begins with a discussion of the bomb itself and the iconic form of the mushroom cloud, which quickly emerged from photographs of the explosion. The photography of nuclear war is considered in the work of Japanese photographers like Yamahata and Matsushige, whose horrifying images of the Hiroshima and Nagasaki blasts eventually were shown in the pages of Life magazine after the ban was lifted. Edward Steichen’s celebrated Family of Man exhibition at the Museum of Modern Art is considered in terms of the image of the hydrogen bomb and its later disappearance from the book version of the show. The post-atomic response of artists like Isozaki is examined, along with American photographers who pictured the Southwest US testing grounds in stunning photographs that explored ways of imaging the unimaginable. How beautiful was the bomb itself? Michael Light’s collection of imagery and related museum exhibitions have shown us the ambiguities of viewing the Destructive Sublime.
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"On Viewing Crime Photographs: The Sleep of Reason." In Evidence and the Archive, 125–28. Routledge, 2018. http://dx.doi.org/10.4324/9781315455570-13.
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Jutz, Gabriele. "Cinematography’s Blind Spots: Artistic Exploitations of the Film Frame." In Cinematic Intermediality, 136–49. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474446341.003.0010.
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This chapter discusses filmic and photographic works that focus on isolated film frames, whether extracted from the continuum of a film strip, as in Slide Movie (Gebhard Sengmüller, 2007) and Und ich blieb stehen. (Thames, London) (Susanne Miggitsch, 2017), or captured photographically from a book or a viewing table, as in Motion Picture (La Sortie des Ouvriers de l’Usine Lumière à Lyon) (Peter Tscherkassky, 1984/2008) and Précis de decomposition (Éric Rondepierre, 1993–1999). Usually rendered invisible during projection, a single frame represents the ‘blind spot’ of cinematography. An explicitly ideological perspective was offered in 1971 by French film critic Sylvie Pierre Ulmann, who distinguished between the use of extracted frames (or ‘photograms’) and idealized still photographs produced on a film set. These ‘parasitic photographs’ no longer bear traces of the material state of a given film copy; they look flawless and perfectly meet ideological requirements of ‘legibility’ and ‘beauty’. The examples presented here bypass ideological claims, because, on the one hand, their dissected frames belong to the same order as the film they are taken from, and, on the other, they result in varying forms of ‘illegibility’.
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Hanna, Erika. "Clasped Hands and Clear Complexions." In Snapshot Stories, 58–85. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823032.003.0003.
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Chapter 2 explores the portrait studio, which defined many Irish people’s experience of family photography for much of the twentieth century. Familial milestones were commemorated by photographs of people in their Sunday best posing stiltedly in front of painted backdrops depicting domestic anywhere-spaces. In particular, it examines two studio portraitists in Waterford in the mid-twentieth century, run by the Poole family and Annie Brophy. Poole catered to the wealthier rural elite, while Brophy’s clientele were predominantly the shop owners of Waterford and small farmers of the district. These photographers were united in how they recorded the rhythms of town and country in a way which remained markedly consistent, through these portraits creating an image of a respectability—that profoundly visual quality—in rural Ireland. The repeated patterned similarities between images, in particular, the recurrence of objects and clothes, shows how portraitists kept props, and how those within the frame participated in the restaging of their lives in front of the lens for display both within the home and to circulate amongst extended family. Moreover, close examination of the marks on the negative reveals how blemishes were removed, hair was thickened, and skin was smoothed, and shows how the photography was manipulated in order to create appropriate families for display and viewing. An exploration of the construction of the studio portrait provides a way to explore how social norms were understood, and how the families sitting for these photographs aspired to reach these standards.
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"“Documents, vues et reproductions” Parisian photographs as administrative viewing tool." In Die Stadt und ihre Bildmedien, 73–91. Wilhelm Fink Verlag, 2018. http://dx.doi.org/10.30965/9783846763193_005.
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Keane, Adrian, and Paul McKeown. "9. Visual and voice identification." In The Modern Law of Evidence, 276–300. Oxford University Press, 2020. http://dx.doi.org/10.1093/he/9780198848486.003.0009.
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This chapter considers the risk of mistaken identification, and the law and procedure relating to evidence of visual and voice identification. In respect of evidence of visual identification, the chapter addresses: the Turnbull guidelines, including when a judge should stop a case and the direction to be given to the jury; visual recognition, including recognition by the jury themselves from a film, photograph, or other image; evidence of analysis of films, photographs, or other images; pre-trial procedure, including procedure relating to recognition by a witness from viewing films, photographs, either formally or informally; and admissibility where there have been breaches of pre-trial procedure. In respect of evidence of voice identification, the chapter addresses: pre -trial procedure; voice comparison by the jury with the assistance of experts or lay listeners; and the warning to be given to the jury (essentially an adaption of the Turnbull warning, but with particular focus on the factors which might affect the reliability of voice identification).
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Guégan, Xavier. "Colonial Photography." In Postcolonial Realms of Memory, 360–70. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620665.003.0034.
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The succession of political regimes in post-1848 France was experienced in similar ways in post-conquest Algeria. The political, social and cultural ideologies that emerged during this period were mirrored in the North African départements, and therefore it is perhaps not surprising that connected events happened simultaneously in the métropole and Algeria. It was not only through its common events and political principles that the Algerian territories became French, but undoubtedly also as a result of the emergence of new cultural media and cultural political attitudes. Taking and viewing photographs were aligned with the new French paradigm of the modern Nation, its identity construction, and interconnection with Algeria. Up to the beginning of World War I there were two moments that connected the photographic visual imagery of Algeria as part of the creation of lieux de mémoire within the Second Empire and Third Republic regimes; the 1850s with its ‘cataloguing’ of the newly established French Algeria and the 1880s-1900s with its portraiture of ‘consumptions and ideologies’ of a French Republican Algeria.
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Denny, Margaret. "Viewing and Display." In The Handbook of Photography Studies, 456–75. Routledge, 2020. http://dx.doi.org/10.4324/9781003103974-34.
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"About the cover photograph." In Re-Viewing Resistance in Namibian History, 317–18. University of Namibia Press, 2015. http://dx.doi.org/10.2307/j.ctvh8qxrv.27.
Full textConference papers on the topic "Viewing photographs"
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Wirtz, Andreas, Florian Jung, Matthias Noll, Anqi Wang, and Stefan Wesarg. "Automatic model-based 3-D reconstruction of the teeth from five photographs with predefined viewing directions." In Image Processing, edited by Bennett A. Landman and Ivana Išgum. SPIE, 2021. http://dx.doi.org/10.1117/12.2582253.
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Nguyen, C. V., and J. C. Wells. "Investigation of Near-Wall Coherent Structures by Stereo Particle Image Velocimetry." In ASME/JSME 2003 4th Joint Fluids Summer Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/fedsm2003-45202.
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We consider issues of camera calibration and measurement validation for a stereo P.I.V. system designed for high-resolution measurements at 15 Hz in a cross-stream plane of an open channel flow, in which Willert’s “front-and-rear” stereo camera arrangement is applied with a new three-dimensional calibration target. The most commonly used mathematical expression of the pinhole camera model contains eleven constants, even though an ideal camera, i.e. one free from lens aberrations and with a uniform and rectilinear distribution of pixels on the sensor face, is characterized by only seven constants with respect to a given physical coordinate system. Thus this mapping function is in fact more general than the pinhole model, and four of its constants are in principle determined by the other seven. However, it has the advantage that the constants may be found from calibration photographs by linear least squares, and in a previous communication (10th International Symposium on Flow Visualization, 2002), we verified experimentally that this form of the pinhole model may by applied without modification to a Scheimpflug camera as used in our setup. In the present paper, we show that when looking through an air-water interface at an angle close to 90 degrees, for which the pinhole model is not valid, this redundant camera model is still applicable, thus explaining why our experimental check gave very good results. We also provide refined data from a previously reported cross-check on the two horizontal components of instantaneous velocity vectors, using a third camera viewing from below with beam illumination (rather than sheet illumination).
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Vinod-Buchinger, Aditya, and Sam Griffiths. "Spatial cultures of Soho, London. Exploring the evolution of space, culture and society of London's infamous cultural quarter." In Post-Oil City Planning for Urban Green Deals Virtual Congress. ISOCARP, 2020. http://dx.doi.org/10.47472/sxol5829.
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Space as affording social interaction is highly debated subject among various epistemic disciplines. This research contributes to the discussion by shedding light on urban culture and community organisation in spatialised ways. Providing a case of London’s famous cultural quarter, Soho, the research investigates the physical and cultural representation of the neighbourhood and relates it to the evolving socio-spatial logic of the area. Utilising analytical methods of space syntax and its network graph theories that are based on the human perception of space, the research narrates the evolution in spatial configuration and its implication on Soho’s social morphology. The method used examines the spatial changes over time to evaluate the shifting identity of the area that was in the past an immigrant quarter and presently a celebrated gay village. The approach, therefore, combines analytical methods, such as network analysis, historical morphology analysis and distribution of land uses over time, with empirical methods, such as observations, auto-ethnography, literature, and photographs. Dataset comprises of street network graphs, historical maps, and street telephone and trade directories, as well as a list of literature, and data collected by the author through surveys. Soho’s cosmopolitanism and its ability to reinvent over time, when viewed through the prism of spatial cultures, help understand the potential of urban fabric in maintaining a time-space relationship and organisation of community life. Social research often tends to overlook the relationship between people and culture with their physical environment, where they manifest through the various practices and occupational distribution. In the case of Soho, the research found that there was a clear distribution of specific communities along specific streets over a certain period in the history. The gay bars were situated along Rupert and Old Compton Street, whereas the Jewish and Irish traders were established on Berwick Street, and so on. Upon spatial analysis of Soho and its surrounding areas, it was found that the streets of Soho were unlike that of its surrounding neighbourhoods. In Soho, the streets were organised with a certain level of hierarchy, and this hierarchy also shifted over time. This impacted the distribution of landuses within the area over time. Street hierarchy was measured through mathematical modelling of streets as derived by space syntax. In doing so, the research enabled viewing spaces and communities as evolving in parallel over time. In conclusion, by mapping the activities and the spatiality of Soho’s various cultural inhabitants over three historical periods and connecting these changes to the changing spatial morphology of the region, the research highlighted the importance of space in establishing the evolving nature of Soho. Such changes are visible in both symbolic and functional ways, from the location of a Govinda temple on a Soho square street, to the rise and fall of culture specific landuses such as gay bars on Old Compton Street. The research concludes by highlighting gentrification as an example of this time-space relation and addresses the research gap of studying spaces for its ability to afford changeability over time.
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Diacon, Liliana Daniela, Luminiţa Mirela Lăzărescu, Vasile Efros, and Cristian Ciubotaru. "Virtual Tourism during the Pandemic. Comparative Study between Suceava and Maramureş Counties." In International Conference Innovative Business Management & Global Entrepreneurship. LUMEN Publishing, 2020. http://dx.doi.org/10.18662/lumproc/ibmage2020/47.
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The measures taken by the states of the world to limit the disease with the Sars Cov 2 virus imposed, in the first phase of the pandemic, numerous restrictions on mobility and physical distance, a situation that significantly changed the way tourism is carried out worldwide. In this context, some typologies of tourist activities were highlighted, which before the pandemic represented only a small segment of tourist flows and economic benefits. The natural areas with dispersed tourist objectives, with low population densities, the local villages, have entered the sphere of interest of some social categories of population that access the international tourism or the urban cultural areas. Virtual tourism has gained more and more ground, the circulation of tourist information in the online environment has intensified through photos showing the behavior of tourists in the circumstances of the pandemic. The study aims to measure, through a comparative and diachronic analysis (before and during the pandemic), the perception and representation of tourism through geocoded photography and assess how the attractiveness of tourist resources in two geographical areas (Suceava County and Maramures County) has changed. Among the existing web photo distribution platforms, we analyzed the geocoded photos on the Picasaweb platform, this platform being in direct contact with the web service and Google street viewing services, popular in Romania. The research aims at analyzing the photographic appearances of the localities from the two counties, Suceava and Maramures in the period February - August 2020. Research methods used: analysis of tourist areas, statistical recording of tourist flows during the pandemic, comparison of the two regions with the intensity of tourist traffic reflected in the attached photos online, cartographic method by presenting tourist information on territorial options. In conclusion, it is observed that the hostile period of the pandemic had a positive impact on the sustainability of tourism, especially of those territories that are of great interest and became overcrowded in the same period of previous years.
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Fetterly, Kenneth A., and Ehsan Samei. "Photographic measurement of the effects of viewing angle on the luminance and contrast of liquid crystal displays." In Medical Imaging, edited by Robert L. Galloway, Jr. and Kevin R. Cleary. SPIE, 2005. http://dx.doi.org/10.1117/12.595772.
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Bentley, Callan, Robin Rohrback, Gene Cooper, and Alan Pitts. "TELLING NORTH AMERICA'S GEOLOGIC STORY WITH ULTRAHIGH RESOLUTION GIGAPAN PHOTOGRAPHY, THE GIGAMACRO VIEWING PLATFORM, 3D MODELS, AND GOOGLE EARTH." In Joint 70th Annual Rocky Mountain GSA Section / 114th Annual Cordilleran GSA Section Meeting - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018rm-313936.
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Weiland, Chris, and Pavlos Vlachos. "The Effect of Mach Number and Aspect Ratio on the Interfacial Characteristics of a Submerged Rectangular Gas Jet." In ASME 2010 3rd Joint US-European Fluids Engineering Summer Meeting collocated with 8th International Conference on Nanochannels, Microchannels, and Minichannels. ASMEDC, 2010. http://dx.doi.org/10.1115/fedsm-icnmm2010-31030.
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Gas jets formed by rectangular nozzles submerged in water were studied using a non-invasive photographic technique which allowed simultaneous measurements of the entire interface. Three aspect ratios were considered corresponding to 2, 10, and 20 with all nozzles sharing a common width. As far as the authors know this study represents the first time the effects of aspect ratio and Mach number on a submerged gas jet have been studied. The results indicate aspect ratio and Mach number play a large role in dictating both the unsteadiness of the interface and the penetration of the gas jet into the surrounding liquid medium. The jet pinch-off is shown to have a logarithmic decay with increasing Mach number and when appropriately scaled by the total viewing length and a geometric length scale (LQ) is relatively constant across all aspect ratio nozzles. The location of pinch-off is also a function of aspect ratio, with the subsonic aspect ratio 2 nozzles showing maximum pinch-off at y/LQ ≈ 23–26 while sonic and supersonic Mach numbers have peaks over the range y/LQ ≈ 11–14. The AR 10 and 20 nozzles show no dependence on Mach number with the maximum number of pinch-off events observed over the interval y/LQ ≈ 3–5. Jet spreading which is indicative of liquid entrainment is also shown to increase with Mach number and aspect ratio. The jet penetration also increases with increasing Mach number and aspect ratio. The spatial instability growth rate was deduced from the downstream evolution of the interfacial unsteadiness and it is shown that the nozzle with aspect ratio of 2 follows a different trend than the aspect ratio 10 and 20 nozzles, suggesting a fundamentally different mechanism dominates the stability of large aspect ratio rectangular gas jets.