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Books on the topic 'Viewing photographs'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Through the viewing glass: Reflections on photographing children. New York: Atria Books, 2004.

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2

Magic 3D: Discover the revolutionary world of photographic free-viewing. London: Stanley Paul, 1995.

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3

Perspectives: Modes of viewing and knowing in nineteenth-century England. Columbus: Ohio State University Press, 2009.

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4

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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5

Lambert, Phyllis. Viewing Olmsted: Photographs by Robert Burley, Lee Friedlander, and Geoffrey James. The MIT Press, 1997.

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6

Viewing An American Ethnic Community Rochester New York Italians In Photographs. University Press of America, 2009.

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7

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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8

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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9

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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10

FRAMES: VIEWING FINNISH CONTEMPORARY PHOTOGRAPHY. Frame, 1998.

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11

Finseth, Ian. Body Images. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190848347.003.0003.

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This chapter shows that the visual archive of the Civil War—photography, painting, lithography, and illustration—was engaged in a complex undertaking of both directing viewers’ attention to the dead and displacing that attention. The argument is threefold. First, it challenges the conventional wisdom that photographs of the dead made the war more “real” for Americans and served to disrupt their communal grief; rather, these images have the potential to nurture an abstract and open-ended condition of national mourning, evoking a feeling of mutual belonging and of citizenship itself. Second, lithographic prints of battle scenes aestheticize mortality in a way that suppreᶊes the political meanings of the war while creating an allegory of national progreᶊ. Third, some Civil War painting thematized the power of silence, reflection, and contemplation, thereby encouraging a different form of viewing and the exercise of independent critical thought in relation to the waste of war.
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12

Clark, Catherine E. Looking Back, Looking Forward. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190681647.003.0007.

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The Vidéothèque de Paris, a video archive of the city’s past that opened in 1988, provides the opportunity to take stock of over a hundred years of putting pictures of Paris’s past at the heart of municipal policy and prestige. While its futuristic viewing pods, robots, and searchable databases seem to predict the future of the Internet, video-sharing platforms, and digital history, the Vidéothèque also reveals how the production and circulation of images are not just windows onto urban change but part and parcel of that history. Photographs shaped the historical imagination in the twentieth century in significant ways. People learned to read photographs as history, while simultaneously believing them to provide transparent, direct access to the past. Photographs forged individual and collective memory. And, their circulation and institutionalization paved the way for arguments about Paris’s reduction to an image or a museum city in the twentieth century.
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13

Fleming, Roland W., and Daniel Holtmann-Rice. “Shape From Smear”. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0017.

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Of the many mysteries of sensory perception, one of the greatest is surely our ability to see in three dimensions. While the world is 3D, the retinal images are 2D: So how does the brain work out the extra dimension? Under ordinary conditions, viewing the world with two eyes provides rich sources of information for inferring depths. However, we are also very good at working out 3D shape even from single, static photographs of objects. This chapter presents a novel illusion in which 2D patterns appear vividly 3D, revealing specific image information that the brain uses for inferring 3D shape, based on the way texture appears distorted in the image.
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14

Russo, Antonella. Re-Viewing: New Directions in Contemporary Photography, 1982-1992. Rizzoli Intl Pubns, 1992.

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15

Fashion as Photograph: Viewing and Reviewing Images of Fashion. I. B. Tauris, 2008.

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16

1963-, Shinkle Eugénie, ed. Fashion as photograph: Viewing and reviewing images of fashion. London: I.B. Tauris, 2008.

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17

Fashion as photograph: Viewing and reviewing images of fashion. London: I.B. Tauris, 2008.

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18

Fashion as photograph: Viewing and reviewing images of fashion. London: I.B. Tauris, 2008.

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19

Fashion as Photograph: Viewing and Reviewing Images of Fashion. I. B. Tauris, 2008.

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20

Blackwood, Sarah. The Portrait's Subject. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469652597.001.0001.

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Between the invention of photography in 1839 and the end of the nineteenth century, portraiture became one of the most popular and common art forms in the United States. In The Portrait's Subject, Sarah Blackwood tells a wide-ranging story about how images of human surfaces came to signal expressions of human depth during this era in paintings, photographs, and illustrations, as well as in literary and cultural representations of portrait making and viewing. Combining visual theory, literary close reading, and archival research, Blackwood examines portraiture's changing symbolic and aesthetic practices, from daguerreotype to X-ray. Portraiture, the book argues, was a provocative art form used by writers, artists, and early psychologists to imagine selfhood as hidden, deep, and in need of revelation, ideas that were then taken up by the developing discipline of psychology. The Portrait’s Subject reveals the underappreciated connections between portraiture's representations of the material human body and developing modern ideas about the human mind. It encouraged figures like Frederick Douglass, Nathaniel Hawthorne, Thomas Eakins, Harriet Jacobs, and Henry James to reimagine how we might see inner life, offering a rich array of metaphors and aesthetic approaches that helped reconfigure the relationship between body and mind, exterior and interior. In the end, Blackwood shows how nineteenth-century psychological discourse developed as much through aesthetic fabulation as through scientific experimentation.
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21

Barbara Yoshida : Moon Viewing: Megaliths by Moonlight. Marquand Books, Incorporated, 2014.

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22

Beautifully Different : Autism: Viewing the World Through a Different Lens. Troubador Publishing Limited, 2014.

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23

MAKIKO. Beautifully Different : Autism: Viewing the World Through a Different Lens. Troubador Publishing Limited, 2014.

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24

Littman, Victoria. Decolonizing the look: Viewing photographic images of the Civil Rights movement. 2000.

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25

Oliva, Aude, and Philippe G. Schyns. Hybrid Image Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0111.

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Artists, designers, photographers, and visual scientists are routinely looking for ways to create, out of a single image, the feeling that there is more to see than what meets the eye. Many well-known visual illusions are dual in nature, causing the viewer to experience two different interpretations of the same image. Hybrid images illustrate a double-image illusion, where different images are perceived depending on viewing distance, viewing duration, or image size: one that appears when the image is viewed up-close (displaying high spatial frequencies) and another that appears from afar (showing low spatial frequencies). This method can be used to create compelling dual images in which the observer experiences different percepts when interacting with the image.
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26

M, Franke John, and Langley Research Center, eds. A Stroboscopic technique for using CCD cameras in flow visualization systems for continuous viewing and stop action photography. Hampton, Va: National Aeronautics and Space Administration, Langley Research Center, 1992.

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27

Klaus, Freyer, Lemm Erhard, and Sparkasse Gera-Greiz, eds. Menschlichkeit: Impressionen 2005 : [Ostthüringer Fotoschau : Michael Malpricht, Frank Schenke, Katja Bach, Karsten Schaarschmidt, Andreas Vieweg, Frank Rüdiger, Wolfgang Wiede, Hans Peter Habel, Angelika Schenke, Christoph Beer]. Gera: Lemm, 2005.

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