Tesi sul tema "Stereoscopic photography"

Two modern technologies show promise to dramatically increase immersion in virtual environments. Stereoscopic imaging captures two images representing the views of both eyes and allows for better depth perception. High dynamic range (HDR) imaging accurately represents real world lighting as opposed to traditional low dynamic range (LDR) imaging. HDR provides a better contrast and more natural looking scenes. The combination of the two technologies in order to gain advantages of both has been, until now, mostly unexplored due to the current limitations in the imaging pipeline. This thesis reviews both fields, proposes stereoscopic high dynamic range (SHDR) imaging pipeline outlining the challenges that need to be resolved to enable SHDR and focuses on capture and compression aspects of that pipeline. The problems of capturing SHDR images that would potentially require two HDR cameras and introduce ghosting, are mitigated by capturing an HDR and LDR pair and using it to generate SHDR images. A detailed user study compared four different methods of generating SHDR images. Results demonstrated that one of the methods may produce images perceptually indistinguishable from the ground truth. Insights obtained while developing static image operators guided the design of SHDR video techniques. Three methods for generating SHDR video from an HDR-LDR video pair are proposed and compared to the ground truth SHDR videos. Results showed little overall error and identified a method with the least error. Once captured, SHDR content needs to be efficiently compressed. Five SHDR compression methods that are backward compatible are presented. The proposed methods can encode SHDR content to little more than that of a traditional single LDR image (18% larger for one method) and the backward compatibility property encourages early adoption of the format. The work presented in this thesis has introduced and advanced capture and compression methods for the adoption of SHDR imaging. In general, this research paves the way for a novel field of SHDR imaging which should lead to improved and more realistic representation of captured scenes.

Thesis (M.S.)--Worcester Polytechnic Institute.
Keywords: Feature matching in multiple cameras; Multi camera stereo computation; Patient Motion Tracking; SPECT Imaging Includes bibliographical references. (p.84-88)

The photographic series Ideal Cities that I started in 2011 is inspired by the conflict between my idea of the “west” and my evolving experience in the United States. What struck me was the popularity of what I see as model experience – a spatial experience controlled by the Spectacle. In the terms of the Situationist International and its most prominent figure Guy Debord, the Spectacle is the collapse of reality into the streams of images, products and activities sanctioned by centralized monopolist business or state bureaucracy. Thus, personal experience is replaced with preconceived notions, which control the way people perceive and understand their surroundings.

La stéréoscopie s’est développée depuis plus de 150 ans à travers la photographie,les films, la réalité virtuelle et la visualisation scientifique. L’affichage de données stéréoscopiques estaujourd’hui de bien meilleure qualité et le contenu ainsi que les écrans stéréoscopiques sont accessiblesà un large public. De plus, la stéréoscopie est un élément essentiel dans la compréhension d’un modèle3D, notamment dans le cadre de l’enseignement ou de la visualisation de modèles médicaux. Elle permetégalement d’appuyer le message véhiculé par une image. Utilisée à des fins artistiques, la stéréoscopiejoue un rôle émotionnel important.Cependant, la quantité de profondeur perçue dans une image stéréo est limitée par les technologiesd’affichages ainsi que par le système visuel humain. Il est alors toujours malaisé de créer du contenustéréoscopique assurant le confort du spectateur et utilisant de manière appropriée cette dimensionadditionnelle. Pour palier à cette difficulté, de multiples méthodes ont été développées, en particulierpour améliorer l’acquisition d’images stéréoscopiques, mais un grand nombre d’interventions manuellessubsistent lors du processus de création. De plus, la manipulation de contenu stéréoscopique nécessitel’utilisation d’outils adaptés, qui sont encore à définir. Enfin, de multiples méthodes d’affichagesstéréoscopiques existent aujourd’hui, certaines mieux adaptées à des conditions de visualisations qued’autres.C’est dans ce cadre que s’inscrit cette thèse, dont les contributions sont la définition d’un modèled’interaction utilisateur stéréoscopique adapté à un environnement de bureau, une méthode d’édition deprofondeur d’images stéréoscopiques assurant un confort visuel du spectateur et une nouvelle utilisationd’une méthode d’affichage stéréoscopique ne nécessitant qu’une image, la chromo-stéréoscopie
Stereoscopy has developed since 1838 through photography, movies, virtual reality andscientific visualization. Stereoscopic displays have increased in quality since the first stereoscope andstereoscopic content is now widely available. Furthermore, the understanding of 3D models is greatlyeased by stereoscopy, in particular for educational purposes or medical data visualization. The messageconveyed by an image is also further held by stereoscopy. Used in an artistic way, stereoscopy can bean important emotional vector.However, the depth interval of a stereoscopic image is limited by the displays technologies as well asthe human visual system. It is thus still difficult to create stereoscopic content ensuring a comfortableexperience to the viewer while using stereoscopy appropriately. To overcome this limitation, severalmethods have been developed, in particular to ease stereo image acquisition, but a great amount ofmanual work still remains. Moreover, stereoscopic content manipulation requires specific tools, whichare still to define. Finally, many stereoscopic display methods are available, with some more appropriateto specific viewing conditions than others.This thesis was conducted in this context, with the following contributions : the definition of a stereoscopicuser interaction model designed for a desktop environment, a new depth editing method ensuringthe viewer’s comfort and a new way to create single-image stereo using chromo-stereoscopy

Nesta dissertação é apresentado o desenvolvimento de uma ferramenta computacional para o processamento de pares de imagens estereoscópicas obtidos por câmeras aéreas métricas e não métricas. O programa foi desenvolvido na linguagem C++ e foi utilizado a biblioteca OpenGL. O resultado obtido é uma imagem tridimensional de onde pode ser extraídas cotas de altura e formas de terreno. Estas imagens poderão ser usadas no estudo de áreas de risco em encostas.
In this dissertation is presented the development of a computational tool for the processing of pairs of images estereoscópicas obtained by metric and not metric aerial cameras. The program was developed in the program language C++ and the library was used OpenGL. The result of the program is a three-dimensional image from where it can be extracted height quotas and land forms. These images can be used in the study of risk areas on slopes.

Cette thèse se porte sur la segmentation affine par régions des cartes de profondeurs obtenues par stéréoscopie en milieu urbain.Cette détection est constituée de 3 étapes.Tout d'abord, un modèle statistique a contrario est introduit afin de déterminer de manière automatique la valeur de certains paramètres courants dans ce genre de problèmes: seuil de validation d'un groupe comme plan, seuil de rejet des points aberrants. Ce modèle permet de plus la comparaison de plusieurs solutions.Dans un second temps, un algorithme glouton est proposé pour obtenir la segmentation plane par morceaux y compris dans des conditions parcimonieuses. Cet algorithme est basé uniquement sur l'information 3D fournie par la carte de profondeur.Enfin, une dernière étape est proposée afin d'affiner le résultat de la segmentation notamment dans les zones où les disparités sont inconnues ou éventuellement fausses. Cette dernière étape est basée sur la combinaison des informations 3D et images de la paire stéréo.

South African artist William Kentridge's (b. 1955) work frequently employs optical tools, such as the stereoscope, to highlight the contingency and instability of witness. These visual tools become metaphors for the process of historicization in post-apartheid South Africa. Kentridge is best known for his animations that are filmed by drawing with charcoal, photographing, erasing, redrawing and photographing again, leaving a palimpsest of previous traces on the paper's surface. Kentridge's prints, drawings, puppetry, theatrical projects and performances are also addressed in (un)Fixing the Eye. Kentridge's vast array of works narrates a history critical of the narrow and objective history of apartheid constructed by the Truth and Reconciliation Commission's (TRC) official report. Furthermore, the metaphors suggested by Kentridge's optical tools undermine the ideology that apartheid is in the past. It suggests the necessity of colonial narratives as well as issues of class and materialism, within apartheid as traces that are very much part of the present. Each chapter of (un)Fixing the Eye uses a separate optical device to explore the narration of history in South Africa. To do so I draw from an eclectic group of thinkers: psychoanalytic models of melancholia and reparation, Jacques Derrida's work on forgiveness, Hayden White's theories of narrative and Jonathan Crary's work on optical tools and perception. Chapter one argues there is an ironic and impossible condition of forgiveness and truth in the TRC. Using Kentridge's Ubu Tells the Truth and its specific invocation of Dziga Vertov's realist 'kino-eye' and Alfred Jarry's brutal and absurd King Ubu as metaphors of absurdity and truth represented through the movie camera, this chapter argues that there is an impossibility of truth in the TRC. Chapter two reads Kentridge's Felix in Exile as a materialist response to the naturalized and a historical landscape tradition in South Africa. Felix's use of the theodolite and sextant as mapping and navigation tools highlights colonial mapping practices and the history of property ownership, particularly in the mining industry. In this way these optical tools link colonialism and mining alongside of the violence rendered in the film, unearthing a history of colonialism and class issues in apartheid narratives. Chapter three uses X-rays and CAT scans as metaphors for the testimony in the TRC, as both require an expert to decode and contextualize the testimony. Kentridge's films during the TRC use medical imaging technologies that are ambiguous and uncertain within the TRC's discourse of truth. Chapter four returns to the camera, this time as a colonial image in Namibia, arguing its usage in Black Box/Chambre Noir creates a melancholic relationship between Enlightenment Europe and colonial Africa. In this melancholia, Kentridge's history of the 20th century's first genocide in Namibia links a tremendous number of global histories. The focus in optical discourses, particularly the stereoscope is not new in Kentridge's work but (un)Fixing the Eye considers a number of tools that have not previously been a part of this optical work in Kentridge's art. It expands the political scope of Kentridge's work to include colonialism and class issues, insisting on their place in the current political landscape. Ultimately this project argues that Kentridge's work through a destabilized optical apparatus works both formally and allegorically as a way of conceiving of narrative and ideological critique in an expanded sense from the narrow confines set by the TRC.

Gegenstand der vorliegenden Dissertation ist die Entwicklung von Kalibrierverfahren und Algorithmen zur Bildverarbeitung im Kontext von Multiprojektorsystemen mit dem Ziel, die Einsatzmöglichkeiten von derartigen Anlagen zu erweitern und die Nutzerakzeptanz solcher Systeme zu steigern. Die Arbeit konzentriert sich dabei insbesondere auf (annähernd) planare Mehrsegment-Projektionsanlagen, die aus preisgünstigen, nicht speziell für den Visualisierungbereich konzipierten Consumer- und Office-Projektoren aufgebaut werden. Im ersten Teil der Arbeit werden bestehende Verfahren zur geometrischen Kalibrierung, zum Edge-Blending sowie zur Helligkeits- und Farbanpassung auf ihre Eignung im Hinblick auf die Anforderungen untersucht und Erweiterungen entwickelt. Für die kamerabasierte Geometrie- Kalibrierung wird mit Lininenpattern gearbeitet, wobei ein effizienter rekursiver Algorithmus zur Berechnung der Schnittpunkte bei leicht gekrümmten Oberflächen vorgestellt wird. Für das Edge-Blending wird ein generalisiertes Modell entwickelt, das mehrere bestehende Ansätze kombiniert und erweitert. Die vorgenommene Modifikation der Distanzfunktion erlaubt insbesondere die bessere Steuerung des Helligkeitsverlaufs und ermöglicht weichere Übergänge an den Grenzen der Überlappungszonen. Es wird weiterhin gezeigt, dass das Edge-Blending mit bestehenden Ansätzen zum Ausgleich der Helligkeitsunterschiede wie Luminance Attenutation Maps kombiniert werden kann. Für die photometrische Kalibrierung ist die Kenntnis der Farb-Transferfunktion, also der Abbildung der Eingabe-Farbwerte auf die tatsächlich vom Projektor erzeugten Ausgaben, unerlässlich. Die herkömmlichen Ansätze betrachten dabei vorwiegend RGB-Projektoren, bei denen die dreidimensionale Transferfunktion in drei eindimensionale Funktionen für jeden Farbkanal zerlegt werden kann. Diese Annahme trifft jedoch auf die betrachteten Projektoren meist nicht zu. Insbesondere DLP-Projektoren mit Farbrad verfügen oft über zusätzliche Grundfarben, so dass der Farbraum deutlich von einem idealen RGB-Modell abweicht. In dieser Arbeit wird zunächst ein empirisches Modell einer Transferfunktion vorgestellt, das sich für derartige Projektoren besser eignet, allerdings die Helligkeit der Projektoren nicht vollständig ausnutzt. Im zweiten Teil der Arbeit wird ein kamerabasiertes Messverfahren entwickelt, mit dem direkt die dreidimensionale Farb-Transferfunktion ermittelt werden kann. Gegenüber bestehenden Verfahren werden tausende von Farbsamples gleichzeitig erfasst, so dass die erreichbare Sampledichte unter praxisrelevanten Messbedingungen von 17x17x17 auf 64x64x64 erhöht und damit die Qualität der photometrischen Kalibrierung signifikant gesteigert werden kann. Weiterhin wird ein Schnellverfahren entwickelt, dass die Messungsdauer bei 17x17x17 Samples von mehreren Stunden mit bisherigen Verfahren auf weniger als 30 Minuten reduziert. Im dritten Teil werden Algorithmen zur effizienten Bildverarbeitung entwickelt, die der GPU-basierten Anwendung der Kalibrierparameter auf die darzustellenden Bilddaten in Echtzeit dienen. Dabei werden die Möglichkeiten zur Vermeidung redundanter Berechnungsschritte beim Einsatz Stereoskopie-fähiger Projektoren ausgenutzt. Weiterhin wird das eigentliche Kalibrierverfahren effizient mit Verfahren zur Konvertierung von stereoskopischen Bildverfahren kombiniert. Es wird gezeigt, dass ein einzelner PC aus Standardkomponenten zur Ansteuerung einer Mehrsegment-Projektionsanlage mit bis zu 6 Projektoren ausreicht. Die Verwendung von DVI-Capture-Karten ermöglicht dabei den Betrieb einer solchen Anlage wie einen "großen Monitor" für beliebige Applikationen und Betriebssysteme.

Dissertação de Mestrado em Design e Multimédia apresentada à Faculdade de Ciências e Tecnologia
A fotografia estereoscópica foi uma das principais formas de comunicação visual na segunda metade do século XIX, deixando ainda hoje um importante impacto na nossa cultura visual (Christie, 2018). Esta tecnologia, que ainda hoje existe através de pequenos grupos de entusiastas e coleccionadores, adaptou-se ao longo do tempo e partilha o seu espaço no universo tridimensional com a mais recente realidade virtual. Praticamente ao mesmo tempo que o aparecimento e a propagação da fotografia estereoscópica, em Coimbra, o Mosteiro de Santa Cruz é entregue ao Estado através da extinção de todas as ordens religiosas do país, sendo reutilizado para outras infra-estruturas. Hoje em dia, a fim de restaurar espacialmente este Mosteiro, a equipa do projecto CES de Santa Cruz modelou o espaço de forma super realista, tal como o era em 1834. Querendo expor o seu trabalho ao público tendo em conta a janela temporal destes eventos, fomos desafiados a criar um visor estereoscópico que estivesse à altura da tecnologia da Realidade Virtual de hoje, mas que conseguisse conter nela a experiência original da fotografia estereoscópica do século XIX. A fim de responder a este desafio, propomos a prototipagem de um dispositivo e software estereoscópico que repense e reinterprete a experiência original de visualização de uma fotografia estereoscópica. Nesta dissertação, descrevemos a criação e desenvolvimento de Spectare, um estereoscópio inspirado no final do século XIX, capaz de proporcionar Realidade Virtual e a sua utilização em cooperação com o trabalho realizado pelo Projecto Santa Cruz CES.
Stereoscopic photography was one of the main forms of visual communication in the second half of the 19th century, leaving even today an important impact on our visual culture(Christie, 2018). This technology, which still exists today through small groups of enthusiasts and collectors, has adapted over time and shares its space in the tridimensional universe with the latest virtual reality. Virtually at the same time as the appearance and propagation of stereoscopic photography, in Coimbra, the Santa Cruz Monastery is handed over to the State through the extinction of all religious orders in the country, being reused for other infrastructures. Nowadays, in order to spatially restore this Monastery, the Santa Cruz CES project team super realistically modelled the space as it was in 1834. Wanting to expose their work to the public taking into account the temporal window of these events, we were challenged to create a stereoscopic viewer that was up to the Virtual Reality technology of today, but that managed to contain in it the original experience of stereoscopic photography of the 19th century. In order to respond to this challenge we propose the prototyping of a stereoscopic device and software that rethinks and reinterprets the original experience of viewing a stereoscopic photograph. In this dissertation, we describe the creation and development of Spectare, a late 19th century inspired stereoscope capable of Virtual Reality and its usage in cooperation with the work made by Santa Cruz CES Project.
Outro - Ligação ao Projeto Santa Cruz

碩士
國立臺灣師範大學
資訊教育學系
94
Stereoscopic scene of the mankind is naturally caused by synthesizing two images produced by the parallax of the two eyes of human. Such being the case, mankind can distinguish the relative position of the objects. In the study of related stereovision, some persons aim at the framework of taking simulated images with two eyes using one or two cameras from front and back or simultaneously at the same time to obtain a pair of parallax mages; someone pay more attention to the theoretical analysis of the relative positions of the parallax images, and some others do the work of using parallax images as material to carry out the job of image classification, comparison and analysis. The study is mainly divided into two parts: Firstly, we used a camera to take a shot on each different position to obtain a set of parallax images and perform analysis on this set of parallax images, so as to get the calculation the intrinsic and extrinsic parameters of the camera and find the regression equation. Secondly, we use the equation to estimate the relative positions of each different object in the every set of parallax images. The study used two kinds of digital cameras, i.e. Casio Z4 and Pentax S5i to carry out the experiment to obtain individual camera’s parameter. We find the regression equation as follow, and we use it to estimate the object distance. For Casio, the regression equation is zd=24.028×b, and its focus is 24.028. For Pentax, the regression equation is zd=25.637×b, and its focus is 25.637. Of them: z: the distance between marker and camera (m), d: the disparity of the corresponding point (pixel), b: base line between two shots(cm). We took images at the Exhibition Center of Fine Arts of the Library of National Taiwan Normal University and the campus of its Branch School, and analyzed each object’s image depth.

碩士
國立臺灣科技大學
色彩與照明科技研究所
107
The thesis focuses on Auto-stereoscopic 3D display and Lenticular printing, using camera array to capture images for new applications in Auto-stereoscopic technology for portrait photography and commercial photography. The proposed prototype used 17 cameras to build camera array, and was equipped with four-view auto-stereoscopic 3D display. This photography system can generate multi-view images promptly. Also, through the preview fuction of the Auto-stereoscopic images on the system, the 3D effect of the images can be presented for selection for Lenticular printing. The system’s application in existing markets for portrait photography and commercial photography were tested. To ensure its application and functionality, experiments involving human subjects were conducted. The experiments used 3 kinds of photography themes─Complex furnishings, Bullet time, and Multi people portrait─to record the respondents’ comfort level and evaluation of the stereoscopic effect. Through the experiments and analysis, acceptance and likabiling of this technology in the markets can be predicted. Further adjustments of the objects in these photograpy themes can be made base on the results of the experiments to suit customers’ desired comfort level and stereoscopic effect. Finally, the system in this study can be added to the existing markets of portrait photography and commercial photography, and create a new type of service.

The Enigma of Appearances is an examination into the medium of three-dimensional photography, with particular focus on the technique of stereoscopy. Invented in the mid-Victorian era, stereoscopy was an attempt to simulate natural three-dimensional perception via a combination of optics, neurology, and a pair of dissimilar images. Whilst successful in producing a powerful illusion of spatial depth and tangibility, the illusion produced by stereoscopy is anything but ??natural??, when compared to three-dimensional perception observed with the naked eye. Rather, stereoscopic photography creates a strange and unnatural interpretation of three-dimensional reality, devoid of atmosphere, movement and sound, where figures appear frozen in mid-motion, like waxwork models, or embalmed creatures in a museum. However, it is precisely stereoscopic photography??s unique and enigmatic interpretation of three-dimensional reality, which gives it its strength, separating it from being a mere ??realistic?? recording of the natural world. This thesis examines the unique cultural position that stereoscopy has occupied since its invention in 1838, from its early role as a tool for the study of binocular vision, to its phenomenal popularity as a form of mass entertainment in the second half of the 19th century, to its emergence in contemporary fine art practice in the late 20th and 21stt centuries. Additionally, The Enigma of Appearances gives a detailed analysis of the theory of spatial depth perception; it discusses the dichotomy between naturalia versus artificialia in relation to stereoscopic vision; and finally, traces the development of experimental studio practice and research into stereoscopic photography, undertaken for this MFA between 2005 and 2007. The resulting work, Camera Mortuaria (Italian for ??Mortuary Room??), is a powerful and innovative series of anaglyptic portraits, based upon an experimental stereoscopic technique that enables the production of extreme close-up three-dimensional photography. Applying this technique to the reproduction of the human face in three-dimensional form, Camera Mortuaria presents a series of ??photo sculptures??, which hover between reality and illusion, pushing the boundaries of stills photography to the limit, and beyond.

The research involves the creation of an interactive installation showcasing the dynamic nature of human visual observation of a still photograph. Using an eye tracker as an input device, the data collected is used to create a photographic collage in stereoscopic 3D. The installation is artistically inspired by selected photographic works of artists David Hockney, Maurizio Galimberti, Joyce Neimanas and Cubist painters especially Picasso. One of the key factors in their work that is adapted in this research, is the representation of the way eyes search points of interest demonstrated in what they painted/photographed. The installation will demonstrate an expressive representation of the viewers' experience of looking at a photograph. This will be achieved by applying certain manipulations of the photograph based on the input obtained from the viewer using an eye tracker. The eye tracker collects information about the location and number of instances of where the viewer is when observing a photograph. This is fed into software that processes the data and determines the location and the size of the area of the photograph and amount of the manipulation to be applied to that area. These two constitute the artistic rules that are used to create the end product the photo collage. The individual pieces of the collage will be arranged in a virtual 3D model by the artist and will be projected in stereoscopic 3D. The development of this installation progressed through multiple case studies and optimization based on ease of use, cost and availability of resources. This process is intended to be a framework for artists working in interactive visual media.

碩士
國立雲林科技大學
設計運算研究所碩士班
100
Since 2010, the display technology has become the mainstream technology and meanwhile many other stereoscopic effect technologies have come along with this trend. However, one problem has emerged, that is the output of the digital content is way slower than the development of the new hardware. As a result, this 3D computer animation work is trying to apply the Stereoscopic Display by using the Shutter Glasses System as the basic hardware in order to further create and present this 3D effect animation short film – The Photographer. I use this film to analyze and record all the problems that happened regarding to the 3D display technology during my working process. The result showed that when making a 3D animation, it is not only about the settings of two cameras. Instead, it concerned with stereology and the analyses of every statistics which were strongly related to the physical feelings of the audiences and it was something that all the 3D animators should be aware of. After completing the film, the creator found that the planning of the whole working process mattered the most in terms of making the stereoscopic animation since it was more complicated and time-consuming than the normal films. Hence, while making the film, the creator tried to build a standard operating procedure regarding the creation of stereoscopic animation for future references.

Grow: Experiencing Nature in the Fifth Dimension, is an interdisciplinary practice-led research project traversing the realms of art, science and technology through the exploration of germinating seeds. Through my investigation of the aesthetic possibilities of the computational extension of vision with time-resolved (4D) micro-X-ray Computed Tomography, I have tested the potential for visualising virtual germinating seeds in an immersive stereoscopic installation. Using this technology I have set out to create a work of art where an audience can experience seed growth from a very different perspective. However, the rationale to propagate seeds in this way began not just to test the limitations and possibilities of this technology. As an artistic inquiry, my premise for focusing on plant life also began as a way to examine this work from an ecological perspective. By considering the third and fourth dimensional elements in this project I am proposing that an individual’s experience of nature in my work can be considered as an additional ‘fifth dimension’. My research is placed within a range of disciplines from contemporary art and new media practices to scientific technological research and the natural sciences. The works of art developed through this research have been viewed in relation to ideas of the fourth dimension in modern art, to microscopy in both historical and contemporary art practice, to contemporary installation practices, and in relation to ideas of time and wonder. My experience of meeting the Seed Morphologist Dr Wolfgang Stuppy and staying at the Millennium Seed Bank, Royal Botanic Gardens, West Sussex in the UK has also been a point of reflection. The seed becomes a visual analogy for ideas of time, growth and renewal in the context of issues of creating art in the time of the Anthropocene. This exegesis explores the multi-dimensional properties of my research in the wider context of art, science and philosophy.

My practice-led project explores the indexical lamination of memory, history, narrative and reality afforded by photography imbued with the illusion of spatial dimensionality. This thesis investigates the notion that far from freezing a ‘slice of time’ photography reanimates perception through sensation rendering duration flexible and elastic. Using the liminal landscape of South Australia as time’s stage, I contend that time is ‘collapsible’, constantly unfolding and repeating. In embracing this temporal flow, I submit that photomedia becomes our most compelling connection to time itself, as lived experience. It is this connection that can act as an ethical agent of change for the betterment of the landscape in which we live. The project includes work created in South Australia, the ACT, the United States and the Outer Hebrides and Shetland Islands of Scotland. It includes artefacts photographed in the Adelaide Civic Collection, The South Australian Museum and the National Museum of Australia.