Journal articles on the topic 'Viewing photographs'
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1
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.
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Nefs, Harold T. "Depth of Field Affects Perceived Depth-width Ratios in Photographs of Natural Scenes." Seeing and Perceiving 25, no. 6 (2012): 577–95. http://dx.doi.org/10.1163/18784763-00002400.
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The aim of the study was to find out how much influence depth of field has on the perceived ratio of depth and width in photographs of natural scenes. Depth of field is roughly defined as the distance range that is perceived as sharp in the photograph. Four different semi-natural scenes consisting of a central and two flanking figurines were used. For each scene, five series of photos were made, in which the distance in depth between the central figurine and the flanking figurines increased. These series of photographs had different amounts of depth of field. In the first experiment participants adjusted the position of the two flanking figurines relative to a central figurine, until the perceived distance in the depth dimension equaled the perceived lateral distance between the two flanking figurines. Viewing condition was either monocular or binocular (non-stereo). In the second experiment, the participants did the same task but this time we varied the viewing distance. We found that the participants’ depth/width settings increased with increasing depth of field. As depth of field increased, the perceived depth in the scene was reduced relative to the perceived width. Perceived depth was reduced relative to perceived width under binocular viewing conditions compared to monocular viewing conditions. There was a greater reduction when the viewing distance was increased. As photographs of natural scenes contain many highly redundant or conflicting depth cues, we conclude therefore that local image blur is an important cue to depth. Moreover, local image blur is not only taken into account in the perception of egocentric distances, but also affects the perception of depth within the scene relative to lateral distances within the scene.
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Kratz, Corinne A. "Afterword Uncertain trajectories and refigured social worlds: the image entourage and other practices of digital and social media photography." Africa 89, no. 2 (May 2019): 323–28. http://dx.doi.org/10.1017/s0001972019000032.
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Drawn from East, West, Central and Southern Africa, the case studies in this special issue build on several decades of important work on photography in Africa. That work has examined colonial photography and postcards, studio work from colonial times to the present, activist photography, photojournalism, and artists who work with photographic images. It has addressed issues of representation, portraiture, aesthetics, self-fashioning, identities, power and status, modernities and materiality, the roles of photographs in governance and everyday politics, and the many histories and modes of social practice around making, showing, viewing, exchanging, manipulating, reproducing, circulating and archiving photographic images. Yet these articles push such issues and topics in exciting directions by addressing new photographic circumstances emerging throughout the world, initiated through new media's technological shifts and possibilities. In Africa, this has fuelled a range of transformations over the last fifteen years or so, transformations that are still unfolding. As the articles show, digital images, mobile phone cameras and social media (also accessed via phone) constitute the potent triad that has set off these transformations.
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Kanicki, Witold. "Wundercamera Obscura." Cabinet, Vol. 2, no. 2 (2017): 70–73. http://dx.doi.org/10.47659/m3.070.art.
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Archives abounding in collections of nineteenth-century photographs contain numerous examples of works dealing with the subject of bodily anomalies. Information about such pictures being taken used to be published on a regular basis in daily press, in which the readership were notified about photo ateliers which immortalised a variety of “monstrosities”. Although it would seem that such pictures were taken solely for scientific purposes, the many and varied contexts of their use let us link them to a much older tradition of viewing and collecting visual curiosities. Having the above facts in mind, this article confronts the popular habits of photographing peculiarities in the 19th century, with museum practice and the Wunderkammers tradition. The space of a photograph may substitute exhibition space, while a desire to watch all kinds of abnormalities and the culture of curiosity determines the connection between former museum visitors and recipients of photographs. Keywords: 19ct museum, collecting, curios, photographic archive, wundecamera
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Mullennix, John W., Grant M. Kristo, and Julien Robinet. "Effects of Preceding Context on Aesthetic Preference." Empirical Studies of the Arts 38, no. 2 (October 11, 2018): 149–71. http://dx.doi.org/10.1177/0276237418805687.
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Two experiments were conducted to examine sequential context effects on judgments of liking for artistic photographs. In Experiment 1, target photographs were preceded in a sequence by context photographs prerated for liking. The results showed that viewing time and response time for targets increased when preceded by highly liked context photographs. However, ratings of liking for targets were unaffected. In Experiment 2, target photographs were preceded by pleasant or unpleasant context photographs. An assimilation effect on target ratings was produced by unpleasant context, with targets rated lower for liking. Both pleasant and unpleasant context photographs affected viewing time and response time for targets. Overall, the results from both experiments show that the presence of an artwork that immediately precedes another artwork in a sequence can affect the processing of the subsequent artwork. This suggests that the positioning of artworks in sequences can produce context effects on art appreciation.
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Darling, Juliet. "On Viewing Crime Photographs: The Sleep of Reason." Australian Feminist Law Journal 40, no. 1 (January 2, 2014): 113–16. http://dx.doi.org/10.1080/13200968.2014.931904.
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Nieberding, William J. "On the Experience of Viewing Thomas Demand’s Photographs." Photographies 10, no. 2 (April 27, 2017): 145–55. http://dx.doi.org/10.1080/17540763.2017.1289118.
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Ashmore. "Time and Mobility in Photographs of the Northeast Industrial Landscape." Arts 8, no. 3 (September 9, 2019): 116. http://dx.doi.org/10.3390/arts8030116.
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This paper addresses documentary landscape photographs of the industrial and post-industrial Northeast of England from 1983 to 2005. Adopting a “mobilities” approach, this paper addresses these images as revealing a process, in which the movement of things and people, on multiple scales and timeframes, continually adapts space and the subjectivities of the people inhabiting it. The representation of mobility is considered in relation to issues of time in the photograph and it proposes one approaches these images not as static representations of a singular time and place but as part of an extended “event”. This interpretation was suggested by Ariella Azoulay and the approach encompasses the historical circumstances of their making, in addition to the multiple viewing positions of their consumption. As such, these photographs suggest an ongoing relationship between power, movement and dwelling. The paper advocates for a contemplative, relational viewing position, in which viewers consider their own spatio-temporal and socio-political position in regard to those landscapes, as well as a continuum of mobilities.
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Feldmann, Rodney M. "Preparation of stereoscopic photographs." Paleontological Society Special Publications 4 (1989): 347–50. http://dx.doi.org/10.1017/s2475262200005335.
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Because many fossils are preserved in relatively high relief, that is they are not preserved on flat surfaces, it is often desirable to prepare a stereoscopic photographs which permit viewing the specimen as a three dimensional object. This could be easily accomplished by considering that stereoscopy is achieved simply by superimposing two images of an object upon one another, the images having been viewed from slightly different perspectives.
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Handley, William R. "Re-Viewing Western U.S. Rephotography in the Anthropocene." KronoScope 19, no. 2 (September 24, 2019): 153–87. http://dx.doi.org/10.1163/15685241-12341441.
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AbstractIn this paper, documentary and artistic pairings of nineteenth-century survey photographs with rephotographs from the 1970s-2000s of identical views of western U.S. sites are read within divergent temporal and historiographical paradigms about historical and geological change. Viewed and interpreted within the legacy of American technocratic “progress” and of debates about the “old” and “new” western histories, this juxtaposed work across a century speaks to shifts in historians’ paradigms about the meaning of western expansion, from optimism to tragedy, and to whether geologic and human history are continuous or discontinuous. The ecological rupture of the Anthropocene returns us to nineteenth-century debates, which in part motivated survey photographs, about whether changes in geological and life forms are gradual or catastrophic—or some uneasy combination of the two. What haunts these photographs today is both a lost ideological past and a precarious, humanly viable future that the Anthropocene exposes.
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Bordeniuk, Serhii, and Viktoriia Byshovets. "Psychological Aspects of Social Photography." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 78–83. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235089.
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The purpose of the research is to analyze the main features of social photography in the psychological aspect of the photographer. The research methodology is based on the application of a system-integrated approach to the review of this problem, within the framework of which a whole range of cultural, philosophical, psychological and professional qualities that affect viewers when viewing photographs is considered. The scientific novelty lies in the analysis of modern typological features and characteristics of social photography. The opinions of scientists from different times on issues of the psychological aspects of social photography were also systematized and generalized. Conclusions. We have analyzed the components of the psychological aspect of social photography. With the help of the analysis, the value of psychology in the work of the photographer specializing in the field of social photography has been established. Structural components that form a psychological aspect in the photo have been developed in detail. The factors that influence the rating of social photography have been summarized. The importance of the psychological aspects of social photography has been determined, since during the work at the same time the process of becoming the author himself, and his main task is to not just capture the environment but through his work to express feelings, emotions and thoughts.
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Çağlayan, Günhan. "Mathematical Lens: Reflections on Vacation Spots." Mathematics Teacher 103, no. 9 (May 2010): 638–42. http://dx.doi.org/10.5951/mt.103.9.0638.
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While viewing photographs posted online at flickr.com, Günhan Çağlayan came across one titled “Vacation in Norway” (see photograph 1), taken by Mirjam Pouw of the Netherlands. Çağlayan reflected on how the beautiful reflections in the image could be modeled with graphs of various types of functions. Ron Lancaster, a co-editor of this department, followed up on Çağlayan's ideas and offers readers the following questions for further reflection.
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Çağlayan, Günhan. "Mathematical Lens: Reflections on Vacation Spots." Mathematics Teacher 103, no. 9 (May 2010): 638–42. http://dx.doi.org/10.5951/mt.103.9.0638.
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While viewing photographs posted online at flickr.com, Günhan Çağlayan came across one titled “Vacation in Norway” (see photograph 1), taken by Mirjam Pouw of the Netherlands. Çağlayan reflected on how the beautiful reflections in the image could be modeled with graphs of various types of functions. Ron Lancaster, a co-editor of this department, followed up on Çağlayan's ideas and offers readers the following questions for further reflection.
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JARVIS, ANDREW. "‘The Myriad-Pencil of the Photographer’: Seeing, Mapping and Situating Burma in 1855." Modern Asian Studies 45, no. 4 (June 29, 2010): 791–823. http://dx.doi.org/10.1017/s0026749x09990023.
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AbstractIn the 1850s photography was a nascent technology. Linnaeus Tripe's photographs and the Burmese Konbaung polity were perceived to be new and/or novel. They were defined and interpreted in relation to things that were established and better-known, as Tripe sought to understand photography and culturally locate ‘Burma’. Tripe was not simply a ‘colonial’ functionary, but an exploratory photographer attempting to classify the subjects of visual representation—mainly Buddhist architecture—and explore photography itself. He strove to be systematic and methodical in his ‘mapping’ of locales: he photogenically captured specimens of architecture, which could then be compared with specimens from elsewhere and located in a ‘Linnaean system’. The lack of clearly defined expectations gave him room for experimentation in his delineations of unphotographed locales, which meant that he could ultimately decide for himself what was worthy of being represented. It takes a concerted effort today to see his photographs as they might have been seen in the 1850s. They can be interpreted in myriad ways and a limitless number of meanings can be ascribed to them, reflecting the ambiguous nature of the medium. Interpretations are shaped by archival contexts and microhistories of circulation and presentation; when viewing the prints today it is important not to posthumously infer Tripe's intentions and motivations without adequately considering the circumstances in which he operated.
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Jiang, Mingyan, Ahmad Hassan, Qibing Chen, and Yinggao Liu. "Effects of different landscape visual stimuli on psychophysiological responses in Chinese students." Indoor and Built Environment 29, no. 7 (August 18, 2019): 1006–16. http://dx.doi.org/10.1177/1420326x19870578.
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Human–plant interactions have positive effects on human health. However, the effects of plants and the environment on psychophysiological responses have not been thoroughly explored. This study examined the physiological (electroencephalography (EEG)) and psychological (the semantic differential method (SDM) and State-Trait Anxiety Inventory (STAI)) responses of adults viewing different landscape pictures. The physiological responses of 50 Chinese students were recorded by measuring blood pressure and EEG, and psychological responses were measured using the STAI and SDM. The following treatments were assessed: (1) urban city traffic photographs (control), T0; (2) garden landscape photographs, T1; (3) natural scenery landscape photographs, T2; (4) forest landscape photographs, T3 and (5) city landscape photographs, T4. Students’ blood pressure was lowered after visual stimulation with different landscape pictures than with the control. In the (SDM) evaluation, students felt more natural, relaxed and comfortable after viewing landscape pictures and had low anxiety scores. EEG results showed higher alpha, beta, delta, theta and gamma frequencies after visual stimulation with landscape pictures than with the control. In conclusion, different landscape pictures have psychophysiological relaxation effects on adults.
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Hess, Scott. "William Wordsworth and Photographic Subjectivity." Nineteenth-Century Literature 63, no. 3 (December 1, 2008): 283–320. http://dx.doi.org/10.1525/ncl.2008.63.3.283.
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This essay argues that William Wordsworth's poetry constructs a subject position analogous to that of the photographic viewer: hence, a photographic subjectivity. Critics have often read Wordsworth's writing as opposing imagination against visibility and mimetic realism. Many of the visual structures of his poetry, however, continue the structures of the picturesque, whose desire to capture the landscape as framed image culminated in the technology of photography. These structures of perception include the stationed point of view of the observer, focusing the scene from a single location; the tendency to reduce the multisensory, ambient experience of lived environment to pure vision; the separation of the observer from the landscape; and the resulting general disembodiment of that observer. Much of Wordsworth's poetry positions the observer in these ways in order to capture images that can then be viewed in private isolation (as in the ““spots of time””), like a series of internalized photographs. These structures of visuality construct what would emerge, after the invention of photography, as a photographic subjectivity, complementing (rather than opposing) the objectivity of the photographic image. They define the viewing subject, in the manner of photography, as a mobile, seemingly autonomous self in an appropriative relationship to landscape——the paradigm of the modern self, taking a ““view from nowhere”” on a world captured as image. The stability, unity, and autonomy of the Wordsworthian self ultimately depend on these photographic relationships.
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Klahr, Douglas M. "Stereoscopic Architectural Photography and Merleau-Ponty’s Phenomenology." ZARCH, no. 9 (December 4, 2017): 84–105. http://dx.doi.org/10.26754/ojs_zarch/zarch.201792269.
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Stereoscopic photography utilizes dual camera lenses that are placed at approximately the interocular distance of human beings in order to replicate the slight difference between what each eye sees and therefore the effect of parallax. The pair of images that results is then viewed through a stereoscope. By adjusting the device, the user eventually sees the two photographs merge into a single one that has receding planes of depth, often producing a vivid illusion of intense depth. Stereoscopy was used by photographers throughout the second half of the Nineteenth Century to document every building that was deemed to be culturally significant by the European and American photographers who pioneered the medium, starting with its introduction to the general public at the Crystal Palace in London in 1851. By the early 1900s, consumers in Europe and America could purchase from major firms stereoscopic libraries of buildings from around the world. Stereoscopic photography brought together the emotional, technical and informed acts of looking, especially with regard to architecture. In this essay, the focus in upon the first of those acts, wherein the phenomenal and spatial dimensions of viewing are examined. Images of architecture are used to argue that the medium not only was a manifestation of Maurice Merleau-Ponty’s phenomenology of perception, but also validated the philosophy. After an analysis of how stereoscopic photography and Merleau-Ponty’s philosophy intersect, seven stereographs of architectural and urban subjects are discussed as examples, with the spatial boundaries of architecture and cities argued as especially adept in highlighting connections between the medium and the philosophy. In particular, the notion of Fundierung relationships, the heart of Merleau-Ponty phenomenology, is shown to closely align with the stereoscopic viewing experience describing layers of dependency.
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Jola, Corinne, Lucie Clements, and Julia F. Christensen. "Moved by stills: Kinesthetic sensory experiences in viewing dance photographs." Seeing and Perceiving 25 (2012): 80–81. http://dx.doi.org/10.1163/187847612x647018.
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Fine art can be visually pleasing or displeasing; moreover, it can touch us, move us, make us shiver or think. Thus, when looking at a piece of art, different sensory experiences may occur altogether in a multisensory cocktail. Still little is known about what evokes such particular multisensory experience in the art spectator. For instance, Calvo-Merino et al. (2008) found enhanced activity in visual and motor brain areas for dance movements that were liked more; however, these movements mostly consisted of vertical displacements of the dancers’ body. Therefore, we conducted a behavioural experiment to study the effect of apparent movement direction on the kinesthetic experience to visual stimuli. We further enquired where in the body participants felt their reactions. Participants rated their responses to a piloted collection of dance photographs which showed snapshots of either vertical or horizontal dance movements. Ratings were made on Likert-scales from 0–10, referring to the participants’ subjective experience (visual, kinesthetic, arousal, liking) and perception (difficulty, motion). We expected vertical displacements to enhance the kinesthetic experience in the passive viewer. Further, we compared dancers with non-dancers and Spanish with UK students. Our results confirmed that looking at stills of vertical movements increases kinesthetic sensation. We also found predicted cultural enhancement of the levels of subjective arousal responses in the Spanish sample. The differences between dancers and non-dancers were, however, smaller than expected. We will discuss these findings in view of the existing neuro-aesthetics (Calvo-Merino et al., 2010; Cross et al., 2011) and neuroscientific studies (Sedvalis and Keller, 2011) using dance to probe the mirror mechanism in action observation.
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Wirawan, I. Komang Arba. "Tenganan Pegringsingan Bali In Ethnography." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2, no. 2 (November 19, 2019): 88–92. http://dx.doi.org/10.31091/lekesan.v2i2.895.
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The purpose of this study is to create photos that visualize the activities of the Tenganan Pegringsingan community based on Tri Hita Karana’s cause of happiness to achieve balance and harmony. First, Parahyangan is a balanced relationship between humans and God, second, Pawongan a harmonious relationship between humans and humans, and thirdly Palemahan means a harmonious relationship between humans and the surrounding natural environment. This research and photography creation method was in the form of in-depth data exploration (depth observations) in the form of interviews and observations. Art and cultural activities and ceremonies in Pegringsingan Village were explored through in-depth research and presented with the concept of ethnophotography. Ethnography does not see a photograph of the work alone, but it is an ethnographic method of viewing society from an anthropological perspective. The anthropological world of photography emphasizes the extraordinary side of conventional things. The harmony of life-based on Tri Hita Karana was reflected in the Tenganan Pegringsingan community as the subject matter of ethnographic creation. Ethnographic results and analysis in Tenganan Village were dissected with the aesthetic theory of photography. First, the aesthetic of photography created through the beauty of photographs based on an ideational and technical level. It was the ethnographic ideational level of upakara in Tenganan Pegringsingan Village. The technical level was related to technical concerning the equipment used for creation. The second theory of semiotic photography analyzed photographs based on the signs contained in the photo. The results of the ethnographic creation of the community in Tenganan Pegringsingan Village found a harmonious relationship between the community and nature, humans and God in the village. This relationship is the subject of representative ethnophotography. The results of ethnographic creation reflect harmonious relationships through the implemented ceremonies that reflect Tri Hita Karana.
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White, Claire, and Daniel M. T. Fessler. "Evolutionizing Grief: Viewing Photographs of the Deceased Predicts the Misattribution of Ambiguous Stimuli by the Bereaved." Evolutionary Psychology 11, no. 5 (December 2013): 147470491301100. http://dx.doi.org/10.1177/147470491301100513.
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We propose a cognitive-evolutionary model of grief where the function of grief is to reunite a person with an absent partner where this is possible, and where it is not, to disengage and reorientate the individual from the lost agent. The present study investigates the potential factors that affect reunion-promoting symptoms by focusing on the misattribution of external stimuli to the deceased by the bereaved - which we term ‘false recognitions’. We propose three factors that relate to false recognitions: First, we propose that strong attachment to the deceased predisposes one to false recognitions; second, we predict that viewing photographs of the deceased (that were taken when the individual was alive) perpetuates false recognitions; and third, we propose that time elapsing since the death diminishes the frequency of false recognitions. In a survey of 164 recently bereaved (<25 months) pet owners in the U.S. and U.K., predictions concerning the association of the predictor and outcome variables were confirmed. The strongest predictor was the frequency of viewing photographic images of the deceased, a pattern consonant with our premise that, being evolutionarily novel, realistic photographs are treated as reliable cues that the agent remains a viable relationship partner. This research demonstrates the potential of evolutionary theory to inform mainstream bereavement research.
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Welch, Matthew, Paul Chang, and Myra F. Taylor. "Photoaging Photography." SAGE Open 6, no. 4 (October 2016): 215824401667290. http://dx.doi.org/10.1177/2158244016672906.
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One of the major sources for children to gain knowledge of skin-protective measures is from their parents. Therefore, an imperative exists for parents to model and reinforce the sun-safety practices they want their children to adopt. Although Australian mothers have been the recipients of two extensive sun-safety public health campaigns, little is known about their attitudes, behaviors, and application of health promotion knowledge toward their and their child’s ultraviolet (UV) sun exposure. Ten mothers with children aged 4 to 12 years were asked a series of questions about their sun-safety practices, both pre- and post-viewing an UV photoaged photograph of their and their child’s face. Interpretive Phenomenological Analysis identified four themes and 12 subthemes. The findings reveal that mothers expressed divergent views on skin protection pre- and post-inspecting their and their child’s photoaged photographs. At one end of the viewing spectrum, mothers expressed an opinion that some degree of skin damage was an inevitable reality in Australia’s sunny climate, and on the other end of the viewing spectrum mothers expressed their desire to keep themselves and their child out of the sun. Mothers in the mid-range of the spectrum stated that their parenting task was one of transferring the responsibility for adopting skin-protective measures from themselves to their preteen children. The combination of mothers viewing their own photos as well as their child’s photograph serves to enhance the difference seen in photoaging damage, which in turn provides greater impetus for mothers to be concerned about photoaging in general.
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Zhou, Renlai, and Senqi Hu. "Effects of Viewing Pleasant and Unpleasant Photographs on Facial EMG Asymmetry." Perceptual and Motor Skills 99, no. 3_suppl (December 2004): 1157–67. http://dx.doi.org/10.2466/pms.99.3f.1157-1167.
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ZHOU, RENLAI. "EFFECTS OF VIEWING PLEASANT AND UNPLEASANT PHOTOGRAPHS ON FACIAL EMG ASYMMETRY." Perceptual and Motor Skills 99, no. 7 (2004): 1157. http://dx.doi.org/10.2466/pms.99.7.1157-1167.
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Hong, Young J., and Dong H. Shin. "Computerized optic disc analysis with adjunct stereoscopic viewing of disc photographs." Yonsei Medical Journal 31, no. 4 (1990): 375. http://dx.doi.org/10.3349/ymj.1990.31.4.375.
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Kytö, Mikko. "Effect of camera separation on the viewing experience of stereoscopic photographs." Journal of Electronic Imaging 21, no. 1 (February 27, 2012): 011011. http://dx.doi.org/10.1117/1.jei.21.1.011011.
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Kalaugher, Patrick G. "Pseudoscopic Viewing: Transfer and Persistence of Reversed Depth Relations from the Viewing of Photographs to the Real Scene." Perception 16, no. 3 (June 1987): 359–74. http://dx.doi.org/10.1068/p160359.
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After viewing stereo pictures pseudoscopically (that is, with the pictures of the stereo-pair presented to the opposite eyes) part of the real scene depicted was perceived as inside out from the standpoint of depth during normal binocular vision. Experiments were designed to investigate this form of transfer but, since serious consequences can arise when an inside-out percept persists in normal binocular vision, it was intended that the experiments would be restricted to transfer of a less extreme kind. The scene chosen had not developed persistence during early trials but, surprisingly, one subject taking part in these experiments did experience some transfer from pseudoscopic direct viewing to normal binocular vision.
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Chung, Sarita, Stephen Monteiro, Sonja I. Ziniel, Leslie A. Kalish, Paula Klaman, and Michael Shannon. "Survey of Emergency Management Professionals to Assess Ideal Characteristics of a Photographic-Based Family Reunification Tool." Disaster Medicine and Public Health Preparedness 6, no. 2 (June 2012): 156–62. http://dx.doi.org/10.1001/dmp.2012.29.
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ABSTRACTObjective: A reunification tool that captures images of children at the time of the disaster would enable parents to locate their missing children, particularly if the children are unable to communicate their identity. This study assessed the ideal features and parameters of a photographic-based reunification tool.Methods: A convenience sample of federal, state, and hospital-based emergency management professionals were surveyed to elicit their preferences regarding an image-based reunification algorithm, to assess the parents' level of difficulty in viewing images with facial trauma, and to determine the minimum percentage of successful reunifications needed to justify adoption of a reunification tool.Results: Of 322 emergency management professionals surveyed, 129 (40%) responded. Only 18% favored a photographic-based tool that would display images in which only the categories of age, gender, and facial features (eye, hair, and skin color) would exactly match the parent's description of the child. However, 72% preferred a broader, less-rigid system in which the images displayed would match all or most features in the parents’ description of the missing child, allowing parents to view more of the image database. Most (85%) preferred a tool showing unedited images of living children, allowing parents to view facial trauma. However, more respondents reported that parents would find viewing unedited images with facial trauma somewhat or very difficult emotionally compared with edited images for both living (77% vs 20%, P <. 001) and deceased children (91% vs 70%, P <. 001.) In a disaster involving 1000 children, a tool that reunites a minimum of 10% of families would be adopted by over 50% of the participants. Participants were willing to accept a lower percentage of reunifications in a disaster involving 1000 children compared with disasters involving 10 (P <. 001) or 100 children. (P <. 001).Conclusions: Emergency management professionals identified desirable characteristics of a photographic-based reunification tool, including an algorithm displaying unedited photographs of missing children that loosely matches the parents' description, acknowledging the parents' emotional difficulty in viewing photographs with facial trauma. Participants were also willing to accept a lower percentage of successful reunifications as the scale of the disaster size increased.(Disaster Med Public Health Preparedness. 2012;6:156–162)
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Wharton, Whitney, Fayron Epps, Mariya Kovaleva, Lindsey Bridwell, Rachanice Candy Tate, Cornelya D. Dorbin, and Kenneth Hepburn. "Photojournalism-Based Intervention Reduces Caregiver Burden and Depression in Alzheimer’s Disease Family Caregivers." Journal of Holistic Nursing 37, no. 3 (October 4, 2018): 214–24. http://dx.doi.org/10.1177/0898010118801636.
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Purpose: Art interventions have demonstrated holistic benefits for persons living with dementia and their caregivers. In this article, we describe the results of a pilot photojournalism program for 10 unpaid caregivers of persons living with dementia, with respect to caregivers’ experience in the program and their psychological well-being. Design: Caregivers participated in four sessions led by a professional photojournalist who taught principles of photography. Between the sessions, caregivers took photographs that represented what caregiving meant to them using digital cameras provided in the program. During the sessions, instruction was interspersed with discussion of caregivers’ photographs. Method: Caregiver burden and depressive symptoms were measured pre- and postprogram. Qualitative exploration included sessions’ observations, viewing caregivers’ photographs, and recording caregivers’ accompanying comments. Findings: For participants with pre- and postprogram data, caregiver burden decreased significantly ( p = .037). For caregivers with pre- and postprogram data, depressive symptoms decreased nonsignificantly ( p = .066). Clinically meaningful reductions in caregiver burden and depressive symptoms were attained. Qualitative findings highlighted caregivers’ strong engagement with the project, the facilitator, and other participants, and reflection on multiple aspects of their experience. Conclusions: This intervention helped caregivers creatively communicate their experience and demonstrated efficacy in the improvement of caregivers’ psychological well-being.
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Sako, Y., K. Fujimura, M. B. McDonald, and D. James. "A system for generating virtual seeds." Scientia Agricola 55, spe (1998): 39–45. http://dx.doi.org/10.1590/s0103-90161998000500007.
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Seed analysts need to identify seeds, and seed catalogs are used as a reference to accomplish this task. Conventional seed catalogs supply two-dimensional photographs and hand-drawn diagrams. In this study, a new, three-dimensional representation of seeds is developed to supplement these traditional photographs and drawings. QuickTime VR is a promising method for viewing three-dimensional objects on a computer screen. It permits manipulation of an object by rotating and viewing it from any pre-specified angle at an interactive speed, allowing the viewer the sense of examining a hand-held object. In this study, QuickTime VR object movies of seeds were created as interactive "movies" of seeds that can be rotated and scaled to give the viewer the sensation of examining actual seeds. This approach allows the examination of virtual seeds from any angle, permitting more accurate identification of seeds by seed analysts.
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Marceau, F. J., P. Rigaud, D. Huguenin, and J. Albukerque. "New stratospheric UV/visible radiance measurements." Annales Geophysicae 12, no. 1 (January 31, 1994): 44–52. http://dx.doi.org/10.1007/s00585-994-0044-1.
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Abstract. A stratospheric balloon was launched on 12 October 1986 from the "CNES" base at Aire sur l'Adour (France) to record twilight radiance in the stratosphere. The near-UV and visible radiances were continuously monitored by a photometer during sunrise. Some observations are presented for different viewing azimuthal planes and viewing elevation angles. They show the influence of aerosols layers and clouds which can be also seen on related photographs. The results as a whole may be used for testing some radiative models, especially for twilight conditions.
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Kelsey, Robin E. "Viewing the Archive: Timothy O'Sullivan's Photographs for the Wheeler Survey, 1871-74." Art Bulletin 85, no. 4 (December 2003): 702. http://dx.doi.org/10.2307/3177366.
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Rohrich, Rod J., Deborah Lee, and A. E. Ingram. "A Mobile Photo Stand for Close-Up Intraoperative Viewing of Photographs/Graphics." Plastic and Reconstructive Surgery 95, no. 1 (January 1995): 195. http://dx.doi.org/10.1097/00006534-199501000-00038.
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Sheehi, Stephen. "A SOCIAL HISTORY OF EARLY ARAB PHOTOGRAPHY OR A PROLEGOMENON TO AN ARCHAEOLOGY OF THE LEBANESE IMAGO." International Journal of Middle East Studies 39, no. 2 (May 2007): 177–208. http://dx.doi.org/10.1017/s0020743807070067.
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Viewing an exhibition of civil war paintings in 1886, Lea Barakat wrote that her “country came to mind: the splendor of its ruins, the wonders of their form like the fortress of Baalbek, the ruins of Palmyra, and the scenes of Lebanon…” Native women should paint like this, she states, and “not leave a scene [of Lebanon] unpainted… They can decorate the rooms of their homes and sitting rooms with these pictures…” She concludes that “since the ladies of our country are smarter and more industrious in their handcrafts than [American] ladies,” they too can obtain a similar level of “wealth, honorable work, admiration of the masses, and praise for the virtue of their [arts and crafts]. This study is a prolegomenon to examining the topography of visual culture and modernity to which Barakat alludes. Rather than painting, this article focuses on photography produced by Arabs during the late Ottoman and early Mandate periods in Lebanon. Less concerned with using photographs to document social transformations, this study theorizes how production and deployment of the photographic image played a part in the conceptualization of a bourgeois individualist subjectivity in Lebanon, which is claimed not to exist in the Arab world.
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Wegner, Brandy S., Anita M. Hartmann, and C. R. Geist. "Effect of Exposure to Photographs of Thin Models on Self-Consciousness in Female College Students." Psychological Reports 86, no. 3_suppl (June 2000): 1149–54. http://dx.doi.org/10.2466/pr0.2000.86.3c.1149.
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The purpose of this study was to assess the immediate influence of brief exposure to images taken from print media on the general self-consciousness and body self-consciousness of 67 college women. After viewing photographs of either thin female models or control photographs, the women completed the Self-consciousness Scale and the Body Self-consciousness Questionnaire. Although α was .45, the college women who looked at images of thin female models gave immediate ratings significantly ( p < .001) higher on both general Self-consciousness and Body Self-consciousness than those who looked at control images.
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Wegner, Brandy S., Anita M. Hartmann, and C. R. Geist. "Effect of Exposure to Photographs of Thin Models on Self-Consciousness in Female College Students." Psychological Reports 86, no. 3_part_2 (June 2000): 1149–54. http://dx.doi.org/10.1177/003329410008600314.2.
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The purpose of this study was to assess the immediate influence of brief exposure to images taken from print media on the general self-consciousness and body self-consciousness of 67 college women. After viewing photographs of either thin female models or control photographs, the women completed the Self-consciousness Scale and the Body Self-consciousness Questionnaire. Although a was .45, the college women who looked at images of thin female models gave immediate ratings significantly ( p < .001) higher on both general Self-consciousness and Body Self-consciousness than those who looked at control images.
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Makanae, Koji, and Tadashi Fukuda. "Highway alignment planning system utilizing stereo-viewing of aerial photographs and computer graphics." Doboku Gakkai Ronbunshu, no. 590 (1998): 23–30. http://dx.doi.org/10.2208/jscej.1998.590_23.
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Biousse, Valérie, Beau B. Bruce, and Nancy J. Newman. "Ophthalmoscopy in the 21st century." Neurology 90, no. 4 (December 22, 2017): 167–75. http://dx.doi.org/10.1212/wnl.0000000000004868.
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Although the usefulness of viewing the ocular fundus is well-recognized, ophthalmoscopy is infrequently and poorly performed by most nonophthalmologist physicians, including neurologists. Barriers to the practice of ophthalmoscopy by nonophthalmologists include not only the technical difficulty related to direct ophthalmoscopy, but also lack of adequate training and discouragement by preceptors. Recent studies have shown that digital retinal fundus photographs with electronic transmission and remote interpretation of images by an ophthalmologist are an efficient and reliable way to allow examination of the ocular fundus in patients with systemic disorders such as diabetes mellitus. Ocular fundus photographs obtained without pharmacologic dilation of the pupil using nonmydriatic fundus cameras could be of great value in emergency departments (EDs) and neurologic settings. The Fundus Photography vs Ophthalmoscopy Trial Outcomes in the Emergency Department (FOTO-ED) study showed that ED providers consistently failed to correctly identify relevant ocular funduscopic findings using the direct ophthalmoscope, and that nonmydriatic fundus photography was an effective alternate way of providing access to the ocular fundus in the ED. Extrapolating these results to headache clinics, outpatient neurology clinics, and adult and pediatric primary care settings seems self-evident. As technology advances, nonmydriatic ocular fundus imaging systems will be of higher quality and more portable and affordable, thereby circumventing the need to master the use of the ophthalmoscope. Visualizing the ocular fundus is more important than the method used. Ocular fundus photography facilitates nonophthalmologists' performance of this essential part of the physical examination, thus helping to reestablish the value of doing so.
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Perlini, Arthur H., and Andrew D. Silvaggio. "Eyewitness Misidentification: Single vs Double-Blind Comparison of Photospread Administration." Psychological Reports 100, no. 1 (February 2007): 247–56. http://dx.doi.org/10.2466/pr0.100.1.247-256.
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Interactive effects of photospread procedures (blind administration or has knowledge of suspect identity) and presentation techniques (sequential or simultaneous photospreads) on false eyewitness identification rates were examined. Of 117 subjects (57 men and 60 women), 87 served as a witness sample and 30 as a photospread administrator sample. Witnesses viewed a 20-sec. mock robbery video prior to viewing a photospread of six photographs either simultaneously or sequentially. Half of the administrators, prior to displaying the photospreads, were made aware of the photograph of the designated suspect (single-blind condition). Consistent with previous findings, sequential presentation was associated with both lower overall false identification rates as well as lower suspect designated-misidentification rates. In each case, there was evidence that administrators' knowledge increased false identification rates more in simultaneous than in sequential presentation conditions. Implications for administrations by police investigators are discussed.
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Morioka, Shu, Michihiro Osumi, Mari Okamoto, and Atsushi Matsuo. "Effects of Facial Expression and Language on Trustworthiness and Brain Activities." International Journal of Brain Science 2015 (June 7, 2015): 1–7. http://dx.doi.org/10.1155/2015/719213.
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Social communication uses verbal and nonverbal language. We examined the degree of trust and brain activity when verbal and facial expressions are incongruent. Fourteen healthy volunteers viewed photographs of 8 people with pleasant (smile) or unpleasant expressions (disgust) alone or combined with a verbal [positive/negative] expression. As an index for degree of trust, subjects were asked to offer a donation when told that the person in the photograph was troubled financially. Positive emotions and degree of trust were evaluated using the Visual Analogue Scale (VAS). Event-related potentials (ERPs) were obtained at 170–240 ms after viewing the photographs. Brain activity during incongruent conditions was localized using standardized Low Resolution Brain Electromagnetic Tomography (sLORETA). VAS scores for positive × smile condition were significantly higher than those for the other conditions (p<0.05). The donation offered was significantly lower for incongruence between verbal and facial expressions, particularly for negative × smile condition. EEG showed more activity in the parietal lobe with incongruent than with congruent conditions. Incongruence [negative × smile] elicited the least positive emotion, degree of trust, and amount of offer. Our results indicate that incongruent sensory information increased activity in the parietal lobe, which may be a basis of mentalizing.
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Santiago, Fabricio R., Mario Piscoya, and Yung-Wei Chi. "Change in perception of sclerotherapy results after exposure to pre–post intervention photographs." Phlebology: The Journal of Venous Disease 33, no. 4 (October 23, 2017): 282–87. http://dx.doi.org/10.1177/0268355517736178.
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Objective To evaluate patients’ self-perception of cosmetic improvement before and after they were presented with pre- and postprocedure photographs after sclerotherapy with 75% dextrose. Methods Treatments included sclerotherapy of reticular and varicose veins using 75% dextrose. All treated limbs were photographed and classified according to Clinical, Etiology, Anatomy, and Pathology classification and Venous Clinical Severity Score pre- and posttreatment. The patients were queried before and after viewing the photos during these visits and indicated if they were very unsatisfied, dissatisfied, satisfied, or very satisfied. Nonparametric kappa correlation coefficient and a Chi square test were used to measure associations among agreement (p < 0.05 indicated statistical significance). The paired Wilcoxon test was used to compare statistical differences in mean Venous Clinical Severity Scores measured at different times (p < 0.05 indicated statistical significance). Data were analyzed using STATA software (version 12). Results Individuals were more satisfied with the results of sclerotherapy after exposure to images portraying their limbs two months after the procedure (p = 0.0028). This effect was maintained six months after sclerotherapy (p = 0.0027). Conclusion Patient exposure to pre- and postsurgical photographs is a simple intervention with the potential of improving patient satisfaction up to six months after treatment with sclerotherapy.
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Nesher, Ronit, Ioannis Zacharopoulos, Ehud I. Assia, and Joel S. Schuman. "Digitizing Stereoscopic Optic Nerve Head Photographs for Storage and Viewing Using a Personal Computer." Ophthalmic Surgery, Lasers and Imaging Retina 36, no. 4 (July 1, 2005): 327–30. http://dx.doi.org/10.3928/1542-8877-20050701-13.
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