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Artykuły w czasopismach na temat "Photographic Practice"
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Meron, Yaron. "Photographic (In)authenticity". Video Journal of Education and Pedagogy 4, nr 2 (27.12.2019): 60–81. http://dx.doi.org/10.1163/23644583-00401018.
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Debates around authenticity within photographic discourse are persistent. Some have revolved around documentary photography, while other discussions focus on the ethical validity of digitally edited news photographs and indeed the photographic medium itself. This article proposes that discussions around ‘authenticity’ should be focused instead towards contextualising photography more appropriately within the creative practice of ‘making strange’. It acknowledges existing debates around photography and authenticity, before locating the discussion within creative practice. It then moves to a discussion, using Robert Capa’s ‘Falling Soldier’ (Capa, 1936) as a starting point, before drawing on examples from the author’s own creative and professional practice. In the process, the article argues that visual researchers embrace the challenges of making the familiar strange within photographic creative practices.
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Sile, Agnese. "Through the mother’s voice: Exposure and intimacy in Lesley McIntyre’s photo project The Time of Her Life and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light". Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 24, nr 5 (2.12.2018): 461–75. http://dx.doi.org/10.1177/1363459318815933.
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When it comes to depicting ill or disabled children, the ethics of representation becomes increasingly complex. The perception of photographs as voyeuristic and objectifying is of particular concern here and resonates with widespread fear about the eroticisation, mistreatment and exploitation of children. Although these fears are reasonable, this view does not take into account the voice and agenda of the photographic subject, disregards the possibility of recognition and the participatory nature of photography. In this article, I focus on photography as a collaborative practice. I analyse two photographic projects by photographers/mothers that document their ill and dying daughters – Lesley McIntyre’s photographic essay The Time of Her Life (2004) and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light (2009). Illness in these projects is not experienced in isolation. Instead, the photographs and accompanying texts provide a space to engage in a dialogue which is built on the interdependency of all the participants of the photographic act – the photographer, the subject of the photograph and the viewer. My aim is to question how these projects construct experiences and articulate private expressions of illness and how the photographs enhance and/or challenge the mother–daughter bond. Alan Radley’s critical analysis of representations of illness, Emmanuel Lévinas’s and Maurice Blanchot’s perspectives on ethical philosophy and visual social semiotics approach developed by Kress and Van Leeuwen provide a guiding framework for this study.
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Vanover, Charles. "The Magic of Theater: Photographing a Performative Academic Career". Cultural Studies ↔ Critical Methodologies 21, nr 1 (26.06.2020): 41–55. http://dx.doi.org/10.1177/1532708620931136.
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I discuss my efforts as a “good enough” photographer and describe the role photographs play communicating important moments from a series of ethnodramas I built about the Chicago Public Schools. I discuss my early efforts to use photography to legitimize my arts-based research practice, describe how my goals changed, and explain how I created images to communicate the energy of live theater. Building on Eisner’s theoretical work, I discuss three tensions of my photographic practice: intention versus improvisation, action versus artifice, and safety versus possibility. These tensions emphasize my limits as a photographer and the possibilities of arts-based research.
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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan". Media, War & Conflict 11, nr 3 (13.07.2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Soyref, Polina G. "The Test of Photography". Koinon 3, nr 2 (2022): 86–105. http://dx.doi.org/10.15826/koinon.2022.03.2.018.
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This article aims to substantiate the interpretation of photography as a tool, artifact, and practice using the concept of test. The concept of test is chosen due to its complex semantic and functional meanings: to test is to check for durability, to find the truth; to be tested is to gain experience. In line with the double meaning o the genitive — we test the photograph, and the photograph tests us — (mutual, bidirectional testing), the article introduces the following headings: “The Test of Strength”, “The Test of the Viewer”, “The Test of the Gaze”, “Body Experience: Tested by the Gaze”, “The Test of Language”, and “The Test of Credibility”. The author’s position is to shift the focus from talking about photography as such to the possibilities of experience that it offers. The implementation of the approach relies on the dual nature of photography: the technical side of the genesis of the photographic image and photographic dualism of studium and punctum (R. Barth). Photography is at the junction between the subjective view of the choice of frame, and the technical registration of reality, which excludes the subject from the process of this registration. This juxtaposition of the subjective and the non-subjective in photographic practice determines the research topics presented in this article. The photographic image remains completely autonomous, not connected to human intervention, and this statement contributed to the introduction of the concept of the solid frame, which has the maximum potential for effect. A solid frame is an independent artifact that can last in the perception and memory of the viewer and create its field of meaning. The nature of the viewer’s particular fascination with photography is explored. The properties of photography —the claim to persuasiveness and the actual power of “lasting” photography — allow us to influence those looking at it (it doesn’t matter if it is the viewer or the photographer): we know that “it was”, we are in the field of the artifact that goes beyond its actual borders, we experience its content beyond cultural, artistic, linguistic boundaries. Photography turns out to be a practice that actualizes, intensifies, or transforms the experience of interacting with reality, a tool that allows us to experience it more intensely than in everyday life.
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Baker, George. "Sharing Seeing". October 174 (grudzień 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.
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In 2007, artist Sharon Lockhart made a large-scale photograph of two young girls reading braille, based on a specific photograph by August Sander from the 1930s made in an institute for blind children. Turning to the widespread iconography of blindness in the history of photography, this essay considers the importance of such images for a larger theory of photographic spectatorship. Lockhart's image of blind children relates to Sander's photograph, but does not duplicate it in all respects; her alteration of the historical image opens onto the larger non-coincidence of vision that photographic seeing instantiates. Ultimately, Lockhart's relational practice of photography-connecting each photograph she makes to prior images, while never fully duplicating or replicating them-provides a model for understanding the relational dynamics of photographic spectatorship. The essay also discusses Paul Strand, Roland Barthes's Camera Lucida, Kaja Silverman's World Spectators, “straight photography,” and Michael Fried.
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De Leon, Adrian. "Frank Mancao's “Pinoy Image”: Photography, Masculinity, and Respectability in Depression-Era California". Journal of American Ethnic History 41, nr 2 (1.01.2022): 58–94. http://dx.doi.org/10.5406/19364695.41.2.03.
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Abstract This article examines the construction of respectability politics and ethnic identity in the visual archives of Frank Mancao, a Filipino labor contractor and photographer in California. By investigating Mancao's relationship with the male Filipino farmworkers he managed and photographed, it argues that ethnic photographers and migrant workers as photographic subjects turned to the camera as a means of constructing a respectability politics to refashion a denigrated masculine Filipino identity in the American West. It begins with an investigation of Mancao's photographic practice and moves into how his work as a studio photographer provided Filipino men—including Mancao himself—opportunities to represent themselves against the popular image of the Filipino vagrant and criminal. However, this study also suggests that the “Pinoy image” crafted around the camera was not a revolutionary one; instead, the photographs reified industriousness and participation in capitalist production as the merits of good citizenship.
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Kea, Pamela. "Photography, care and the visual economy of Gambian transatlantic kinship relations". Journal of Material Culture 22, nr 1 (14.12.2016): 51–71. http://dx.doi.org/10.1177/1359183516679188.
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This article examines transnational kinship relations between Gambian parents in the UK and their children and carers in The Gambia, with a focus on the production, exchange and reception of photographs. Many Gambian migrant parents in the UK take their children to The Gambia to be cared for by extended family members. Mirroring the mobility of Gambian migrants and their children as they travel between the UK and The Gambia, photographs document changing family structures and relations. It is argued that domestic photography provides an insight into the representational politics, values and aesthetics of Gambian transatlantic kinship relations. Further, the concept of the moral economy supports a hermeneutics of Gambian family photographic practice and develops our understanding of the visual economy of transnational kinship relations in a number of ways: it draws attention to the way in which the value attributed to a photograph is rooted in shared moral and cultural codes of care within transnational relations of inequality and power; it helps us to interpret Gambians’ responses to and treatment of family photographs; and it highlights the importance attributed to portrait photography and the staging, setting and aesthetics of photographic content within a Gambian imaginary.
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Bell, Amy. "“We were having a lot of fun at the photographers”". Ontario History 107, nr 2 (24.07.2018): 240–61. http://dx.doi.org/10.7202/1050637ar.
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This article uses the photographic examples from a small female college to explore the use of photography as a social practice in late Victorian female colleges. It argues that photographs of students worked as both frames and surfaces: framing the visual details of their daily lives, while simultaneously allowing them a surface on which to fashion self-portraits. The photographs of Hellmuth Ladies’ College demonstrate the multiple arenas of late Victorian educational experience, the idealistic and aesthetic links between female educational institutions in the circum-Atlantic World, and the importance of school photographs to Canada’s photographic history.
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Thelander, Åsa, i Cecilia Cassinger. "Brand New Images? Implications of Instagram Photography for Place Branding". Media and Communication 5, nr 4 (21.12.2017): 6–14. http://dx.doi.org/10.17645/mac.v5i4.1053.
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The aim of this article is to develop an understanding of what happens when Instagram photography is used for branding a place. Questions raised are which photographs are taken and published, does the practice result in novel ways of representing a place, and, in turn the image of a place. A practice approach to photography is used where focus is directed to the performative aspect of photography. Fifteen qualitative interviews were conducted with participants in an Instagram takeover project concerning their photographs. The study shows that adopting a communication strategy based on visual social media is dependent on the participants’ competencies and that it is embedded in everyday life. Moreover, the participants’ photographic practices were found to be influenced by social conventions, which resulted in the city being imagined differently by different participants. To use visual social media such as Instagram for branding purposes does not necessarily mean that novel images are generated, but that they are choreographed according to the conditions of Instagram as medium.
Rozprawy doktorskie na temat "Photographic Practice"
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Grayson, Louise. "Streets apart genres of editorial photographs and patterns of photographic practice". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50796/1/Louise_Grayson_Thesis.pdf.
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My doctoral research contributes to visual scholarship by investigating and defining representational strategies of three photographic genres – press photography, photojournalism, and documentary photography – using an ‘action genre’ approach (Lemke, 1995: 32). That is, rather than taking final photographic forms as being definitive of genre, I identify patterns of ‘activity types’ involved in the production of editorial photography to define genre (1995: 32). While much has been written on editorial photography, there is no organised body of scholarship that distinguishes between these three very different modes of photographic practice. I use a major documentary project to exemplify and analyse the impact of these genres on my own photographic practice, and to explore the production of meaning within the framework of these professional genres. I triangulate the theoretical framework through the use of interviews with established Australian professionals.
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Forrest, Eve. "On photography and movement : bodies, habits and worlds in everyday photographic practice". Thesis, University of Sunderland, 2012. http://sure.sunderland.ac.uk/3304/.
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This study is an exploration of everyday photographic practice and of the places that photographers visit and inhabit offline and online. It discusses the role of movement, the senses and repetition in taking photographs. Ultimately it is about photographers and their photographic routines and habits. Since the advent of photography, numerous texts on the subject have typically focused on photographs as objects. This trend has continued into the digital age, with academic writing firmly focusing on image culture rather than considering new issues relating to online practice. Although various technological innovations have given the photographer flexibility as to how and what they do with their images, the contention of this thesis is that analogue routines have been mostly transposed into the digital age. Nevertheless, there remains a lack of empirical enquiry into what photographers actually do within online spaces. This study is one of the first to address this knowledge gap. Taking a unique approach to the study of photography, it draws upon work in various fields, including phenomenology, social anthropology, human geography and sensory ethnography, to produce an innovative conceptual and methodological approach. This approach is applied in the field to gain an in-depth understanding of what ‘doing’ photography actually entails. An in-depth analysis of interviews with and observations of North East photographers reveals how they engage with everyday life in a distinctive way. Habitually carrying a camera allows them to notice details that most would ignore. Online and offline movements often become entangled, and when photographers explore Flickr there is a clear synergy with the way in which they explore their local city space. This research is a call to others to give serious consideration to online and offline photography practices, and an attempt to stimulate new discussions about what it means to be a photographer in the world.
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Newbury, Darren M. "Towards a new practice in photographic education". Thesis, Birmingham City University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282948.
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Ignas-Menzies, Tristan. "Provoke as a collective practice of photographic realism". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/59066.
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Comprised of the critic Taki Kōji, poet Okada Takahiko, and photographers Nakahira Takuma, Takanashi Yutaka, and Moriyama Daido (who joined with the publication of the second issue), the photographic journal Provoke ran for three issues between 1968 and 1969. My thesis considers Provoke in terms of its status as a physical and commercial object within the socio-economic context of late 1960s Japan so as to offer a perspective into the collaborative endeavour represented by the journal as a whole. I argue that Provoke attempted to mobilize photography’s documentary potential in the face of the abstract conditions of Japan’s modern capitalist society. This was operationalized as a mode of photographic realism whose access to reality was a function of the journal’s collective form. The necessity for a specifically collective engagement with reality was articulated via the group’s engagement with Marxist theory: in the writings its members contributed to the journal they argued that the subjective alienation characterizing Japan’s capitalist modernity had rendered invisible the individual’s relation to the social whole.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Culhane, Dylan. "Bumper to bumper: photographing across the class divide in post-apartheid South Africa. A photographic essay and analysis". Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12000.
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Includes bibliographical references.The eponymous collection of 64 photographs accompanying this text constitutes the creative research component of my M.A. in Media Theory & Practice. I chose to photograph the men (and to a lesser but nonetheless significant degree women) that we see being transported in bakkies and trucks on our roads on a daily basis, compiling a photographic essay engineered to provoke contemplation of current societal discrepancies.
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Kriel, Charles. "Noise, artefact and the uncanny in large scale digital photographic practice". Thesis, University of the Arts London, 2004. http://ualresearchonline.arts.ac.uk/2302/.
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This dissertation explores the question: why, when encountering the products of many new technologies delivering information via a new media, do I often experience a feeling of disquiet or estrangement? I use the example of laser-photographic printing to explore the issue through a program of practice-based research. The outcome of this line of enquiry includes an original contribution via three series of large-format digital photographic works: Presenting "The Amazing Kriels", Home At Last, and Pure. In this thesis, which supports the main body of the research, that is, the practice-based research, I will briefly review the case for artefact as noise within photographic printing, articulate a significant difference between the artefact levels of traditional analogue and Lambda prints, present original dialogical evidence for estrangement in the latter, and identify it via readings of Sigmund Freud's "The Uncanny" and McLuhan's "The Gadget Lover", as a function of the uncanny. I will propose an original rewriting of McLuhan's ideas of "hot" and "cool" media, as well as the cycles of irritation/mediation repression within McLuhan's media theory as a direction for future research, and relate them to a shift from large-scale analogue photographic printing to Lambda printing.
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Pollard, Ingrid. "Home and away : home, migrancy, and belonging through landscape photographic practice". Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q56vq/home-and-away-home-migrancy-and-belonging-through-landscape-photographic-practice.
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The thesis consists of six bodies of photographic visual works: the exhibitions Self Evident, Regarding the Frame, and Oceans Apart, the publication Hidden in a Public Place, an artist-curator project, TradeWinds-LandFall and the video Belonging in Britain. The works are primarily lens-based practice and have been published and exhibited during the last ten years. The overall field of enquiry across the six works is concerned with the issues of Place, situated within the key themes of Home, Migrancy, and Belonging. The accompanying text details the development of the works through multiple readings of the relationship between material practices and ideas of landscape, Britishness and race. By taking a historical, but not chronological examination of the works the chapters examine aspects of the visual politics of landscape aligned with cultural experience and explore how these are expressed across a range of media and theoretical strands. The vital discussion of visual and material practice within the commentary is indicated and accompanied by extensive Supplementary Evidence, Appendix A (page 99). This appendix includes exhibition catalogues, research publications, and audio, music CD and DVD video extracts. This evidence positions the theoretical concepts within the parameters of the practice based research. The thesis also assigns authority to ‘other voices’ for a more nuanced response to the complexity of archive work. The thesis challenges and complicates ideas of rootedness to examine the possibilities of meaningful immersions and interactions within communities related to personal biography, history and diaspora as a practice method. In this sense the work locates ways, through practice, which have challenged conventional thinking about identity that limit the discourse and communication around race with the historical classification of ‘black arts’.
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Levitsky, Maria. "Invisible Cities: Photographic Fictions of Architecture". ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1457.
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The artist's process in which she examines the built environment through the medium of black and white photography. By tracing the trajectory of her awareness of architecture from her early career as a dancer, to the making of photographic images, the artist illuminates the process of deconstructing architectural and pictorial space into fragmented yet illusionistically convincing photographic montages. Influenced by the urban localities in which she dwells, she tells the story of being captivated by the post-industrial landscape of Williamsburg, Brookyn, NY, followed by landing in New Orleans and her fascination with post-Katrina architecture. Grounded in the analog techniques of traditional black and white photography, Levitsky describes the various means by which she alters her images to create visionary reconstructions of buildings in transitional states.
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Edge, Sarah-Jane. "Photography and identities : a case study and related photographic practice : an investigation into the role of early photographic representations of working-class women from London (1860-1865) as represented in the photographic collection of Arthur J. Mu". Thesis, University of Ulster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428807.
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Ho, Hoi-yan. "Application of aerial photograph interpretation in geotechnical practice in Hong Kong". Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B42577585.
Pełny tekst źródłaKsiążki na temat "Photographic Practice"
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Ray, Sidney F. Photographic enlarging in practice. Newton Abbot: Element, 1985.
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Michael, Mack, Browning Simon i Perkins Sean, red. Surface: Contemporary photographic practice. London: Booth-Clibborn Editions, 1996.
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Newbury, Darren. Towards a new practice in photographic education. Birmingham: University of Central Englandin Birmingham, 1995.
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Sroka, Iris E. Young children's photographic practice: Representation and world knowledge. Ann Arbor, Mich: UMI Dissertation Services, 2002.
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Hamilton College (Clinton, N.Y.), red. In context: The portrait in contemporary photographic practice. Clinton, New York: Ruth and Elmer Wellin Museum of Art, Hamilton College, 2014.
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Laney, Dennis H. Leica, lens practice: Choosing and using Leica lenses. Hove, East Sussex, U.K: Hove Foto Books, 1985.
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Filippo, Maggia, Opera Bevilacqua La Masa (Venice, Italy) i Museo di fotografia contemporanea (Cinisello Balsamo, Italy), red. Victor Burgin: Components of a practice. Milano: Skira, 2008.
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Arancio, Salvatore. The new Victorians: Delineating a new trend in modern photographic practice. London: LCP, 2003.
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Arancio, Salvatore. The new Victorians: Delineating a new trend in modern photographic practice. London: LCP, 2001.
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MRCP 2 practice papers: Case histories, data interpretations and photographic material. Wyd. 3. Knutsford, Cheshire: PasTest, 2003.
Znajdź pełny tekst źródłaCzęści książek na temat "Photographic Practice"
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Schneider, Arnd. "Fashionable Savages: Photographic Representations of the Indigenous". W Appropriation as Practice, 91–110. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983176_5.
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Medcalf, Alexander. "Railway Advertising: Theory and Practice 1900–1939". W Railway Photographic Advertising in Britain, 1900-1939, 35–69. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70857-7_2.
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Hood, Stephanie L. "Science, Photography, and Objectivity? Exploring Nineteenth-Century Visual Cultures through the HMS Challenger Expedition (1872–1876)". W Scientific Visual Representations in History, 251–86. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-11317-8_9.
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AbstractPreparing to set off from England in 1872 on an oceanographic expedition around the globe, the officers and crew of HMS Challenger gathered on board the ship for a photographic portrait. It was one of the first photographs of crew on a scientific voyage of exploration ever taken. Over eight hundred photographs were taken or acquired on the Challenger in addition to drawings and paintings. This chapter uses these photographs to reexamine Daston and Galison’s theory that photography was successful in nineteenth-century science on account of its perceived “objectivity” as an epistemic ideal. The chapter first outlines the history and historiography of photography and of the Challenger expedition, proceeding to outline photographic practices on the voyage, and evaluating the photographs’ place within longer aesthetic traditions. It then examines the Challenger photographs’ circulation and use in its official scientific report, and in wider scientific contexts. The chapter finally analyzes the photographs’ personal, and then broader public, economic, and political circulation and uses. It concludes by arguing that drawing and painting were the preferred scientific visual strategies on the Challenger, indicating that photography was not preferred on account of its perceived “objectivity” for science. Instead, photographs afforded other benefits such as speed of capture, replicability, and adaptability—for economic, social, and political use as well as scientific. Photography was therefore an effective visual strategy not on account of its perceived scientific “objectivity” but due to its flexibility, which corresponded to the expedition’s scientific aims as well as its broader economic, social, and political context.
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Griffiths, Martin. "Photography and Photographic Equipment". W The Patrick Moore Practical Astronomy Series, 59–84. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32884-3_5.
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Schimmenti, Andrea, i Paolo Bonora. "LOD that Picture: Leveraging Linked Open Data to Enhance Navigation of the Photographic Archive of the Teatro Comunale of Bologna". W Linking Theory and Practice of Digital Libraries, 518–22. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16802-4_56.
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Drusian, Michela. "Digital Photography Practices". W Young People and the Smartphone, 47–66. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06311-4_4.
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Quicke, Donald, Buntika A. Butcher i Rachel Kruft Welton. "Adding photographs." W Practical R for biologists: an introduction, 332–34. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789245349.0029.
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Abstract This chapter shows how to insert photographic files into plots. The R base package does not have any tools for handling photographs, but recently Simon Urbanek has created the CRAN packages jpeg (which seems to work with most versions) and tiff (which allows importing and exporting some of the standard tiff file types), and displaying them on the console. Inevitably because there are various graphics devices used by different R versions on different systems there will probably have to be some fiddling with code to get the perfect output. It may be easier on a MacOSX, and PCs do not support some graphics features of tiff files.
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Quicke, Donald, Buntika A. Butcher i Rachel Kruft Welton. "Adding photographs." W Practical R for biologists: an introduction, 332–34. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789245349.0332.
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Abstract This chapter shows how to insert photographic files into plots. The R base package does not have any tools for handling photographs, but recently Simon Urbanek has created the CRAN packages jpeg (which seems to work with most versions) and tiff (which allows importing and exporting some of the standard tiff file types), and displaying them on the console. Inevitably because there are various graphics devices used by different R versions on different systems there will probably have to be some fiddling with code to get the perfect output. It may be easier on a MacOSX, and PCs do not support some graphics features of tiff files.
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"BLACK PHOTOGRAPHIC PRACTICE". W Black British Culture and Society, 250–60. Routledge, 2003. http://dx.doi.org/10.4324/9780203360644-27.
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Shepherdson, Karen. "Beyond the View: Reframing the Early Commercial Seaside Photograph". W Coastal Cultures of the Long Nineteenth Century, 225–41. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474435734.003.0013.
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This chapter provides insight into an overlooked form of demotic photography, revealing rich seams of imagery and offering fresh perspectives on Victorian coastal representations. Shepherdson examines commercial seaside photographic practice from 1860 to 1920, offering a visual exposition of the British seaside through the refracted lens of the itinerant beach photographer. Despite their humble means of production, the photographs discussed are frequently evocative, drawing the viewer into a nostalgic past shaped by visual half-truths. Photographic half-truths too readily can become amplified from a view to the view and to the experience. This chapter examines the conventions, expectations and mythologisation of what seaside portrait photography of this period should present, and how these inevitably provide a highly mediated view of the actual Victorian seaside experience.
Streszczenia konferencji na temat "Photographic Practice"
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Hill, Rodrigo, i Tom Roa. "Place-making: Wānanga based photographic approaches". W LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.188.
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Ka matakitaki iho au ki te riu o Waikato Ano nei hei kapo kau ake maaku Ki te kapu o taku ringa, The words above are from the poem Māori King Tawhiao wrote expressing his love for his homelands of the Waikato and the region known today as the King Country. The words translate to: “I look down on the valley of Waikato, As though to hold it in the hollow of my hand.” Now imagine a large-scale photograph depicting a close-up frame of cupped hands trying to hold something carefully. The words above inform Professor Tom Roa and Dr. Rodrigo Hill’s current research project titled Te Nehenehenui - The Ancient Enduring Beauty in the Great Forest of the King Country. With this project still in its early stages the research team will present past collaborations which they will show leads into new ideas and discussions about photography, wānanga, and place representation. They focus on Māori King Tawhiao’s finding refuge in Te Nehenehenui, later called the King Country in his honour. He led many of his Waikato people into this refuge as a result of the British Invasion and confiscation of their Waikato lands in the latter part of the nineteenth century. The love of and for those lands prompted him to compose his ‘maioha’ - this poem painting a word-picture of these spaces which their photography humbly aims to portray. The project advances the use of wānanga (forums and meetings through which knowledge is discussed and passed on) and other reflective practices, engaging with mana whenua and providing a thread which will guide the construction of the photographic images. The name Te Nehenhenui was conceptualised by Polynesian ancestors who travelled from Tahiti and were impressed with the beauty of the land and the vast verdant forests of the King Country territories in the North Island of Aotearoa New Zealand. The origins of the name and further relevant historical accounts have been introduced and discussed by Professor Tom Roa (Ngāti Apakura, Ngāti Hinewai), Shane Te Ruki (Ngāti Unu, Ngāti Kahu) and Doug Ruki (Ngāti Te Puta I Te Muri, Ngāti Te Kanawa, Ngāti Peehi) in the TVNZ Waka Huia documentary series. The documentary provides a compelling account of the origins of the name Te Nehenehenui, thus informing this project’s core ideas and objectives. The research fuses wānanga, that is Mātauranga Māori, and photographic research approaches in novel ways. It highlights the importance of local Waikato-Maniapoto cosmological narratives and Māori understandings of place in their intersecting with the Western discipline of photography. This practice-led research focuses on photography and offers innovative forms of critical analysis and academic argumentation by constructing, curating, and presenting the photographic work as a public gallery exhibition. For this edition of the LINK Conference, the research team will present early collaborations and current research developments exploring place-making and wānanga as both methodology and photography practice.
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Rich, Chris C., i Lydia Dickerson. "Lippmann photographic process put to practice with available materials". W Photonics West '96, redaktor T. John Trout. SPIE, 1996. http://dx.doi.org/10.1117/12.238536.
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Hill, Rodrigo, Marcos Steagall i David van Vliet. "Augmenting Community Narratives: An Exploration of Lens-based Image and Publication Design". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.84.
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This presentation proposal advances a pedagogical case study that focuses on innovative ways of promoting visual literacy for undergraduate students through lens-based image-making and digital technologies. The curriculum was designed to be delivered throughout an academic semester at Auckland University of Technology South Campus, Manukau City, Aotearoa New Zealand. The content is formatted for first-year students of the Diploma in Arts endorsed in Communication Design. The Diploma in Arts is appealing to students who may be seeking a shorter design qualification. In addition, the programme provides for students who have not met or have narrowly missed University Entrance (UE) criteria. The presentation focuses on the structure and contents of the pedagogical experience where lecturers and students are connected in the design studio through agency and literacy rather than just observing pedagogical prescriptions. In this active environment, the hidden curriculum that deals with the participant's cultural background and natural epistemologies is valued and validated. In creating the engagement for visual literacy, the brief requires students to consider aspects of community, taking the role of a storyteller equipped with skills to create visual content that is meaningful and actual. The course is divided into two parallel design studio approaches: one that deals with visual literacy through the photographic image and practice; and the other is concerned with aspects of the nature of the media, augmented reality and image dissemination in digital platforms. The first area focused on visual literacy through photographic practice, using the politics of photographic language and representation, employing portraiture analysis and image creation. This approach encompasses the conceptual aspects associated with photographic images and the technical aspects of lens-based image-making. The second area focused on understanding digital media, the application of tools and how to take advantage of the interactive environment to promote awareness and reflect change in the community. This part of the brief intended to create an understanding of the issues associated with online environments, providing students with skills to operate creatively and fluidly in response to the fast-paced nature of online image-sharing platforms. Within this context, techniques of digital image construction and manipulation were investigated in the light of industry applications and best practice workflows. These learning areas were underpinned by an online blog where students actively recorded their design process, tests, and contextual influences that impacted their design practice. The studio environment fostered an inclusive and participatory form of teaching and learning and employed students' smartphones as an accessible tool to produce and understand images. The project contributes to knowledge about the design studio through a framework for Visual literacy and media education, where students learn principles of photography practice and digital technologies. It contributes to reflections about the use of mobile phone technologies as a common entry way apparatus to visual literacy and imagery generator.
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Mortensen Steagall, Marcos. "Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration". W LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.184.
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In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical, inter-generational, geographical and community boundaries. Their creative practices are used to map the historical trajectories of their whakapapa and the stories of survival in the modern world. They overturn research norms and frame knowledge to express the values of Tikanga and Matauranga Maori. Despite the exponential growth in the global interest in Indigenous knowledge, there is still little literature about creative collaborations between Māori–non-Māori practitioners. These collaborative research approaches require the observation of Māori principles for a respectful process which upholds the mana (status, dignity) of participants and the research. This presentation focuses on four collaborative partnerships between Māori–non-Māori practitioners that challenge conceptions of ethnicity and reflect the complexity of a global multi-ethnic society. The first project is: The Māui Narratives: From Bowdlerisation, Dislocation and Infantilisation to Veracity, Relevance and Connection, from the Tuhoe film director Dr Robert Pouwhare. In this PhD project, I established a collaboration to photograph Dr Pouwhare’s homeland in Te Urewera, one of the most exclusive and historical places in Aotearoa. The second project is: Applying a kaupapa Māori paradigm to researching takatāpui identities, a practice-led PhD research developed by Maori artist and performer Tangaroa Paora. In this creative partnership, I create photographic portraits of the participants, reflecting on how to respond to the project’s research question: How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression. The third project is: KO WAI AU? Who am I?, a practice-led PhD project that asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of a tragic historical event in culturally sensitive ways to tell the story of generational impact from Toiroa Williams. In this creative partnership, I worked with photography to record fragments of the colonial accounts of the 1866 execution of Toiroa’s ancestor Mokomoko. The fourth project is: Urupā Tautaiao (natural burials): Revitalising ancient customs and practices for the modern world by Professor Hinematau McNeil, Marsden-funded research. The project conceives a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and practices for the modern world. In this creative collaboration, I photographed an existing grave in the urupā (burial ground) at xxx, a sacred place for Māori. This presentation is grounded in phenomenological research methodologies and methods of embodiment and immersion. It contributes to the understanding of cross-cultural and intercultural creativity. It discusses how shared conceptualisation of ideas, immersion in different creative processes, personal reflection and development over time can foster collaboration.
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Watson, William, Fred Dupriest, Ysabel Witt-Doerring, Paul Pastusek, Junichi Sugiura, Ray Procter, Dustin Daechsel, Raafat Abbas i David Shackleton. "IADC Code Upgrade: Bit and BHA Forensics Using Rig-Based Photographic Documentation Practices". W IADC/SPE International Drilling Conference and Exhibition. SPE, 2022. http://dx.doi.org/10.2118/208707-ms.
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Abstract This paper establishes uniform recommended industry practices for bit and bottom hole assembly (BHA) photo documentation. In addition to standardizing photo documentation this reference document contains a discussion and example photos which may be used as training material to aid the rig site team in determining the cause of the damage observed in the photos. Effective field photo documentation and training to identify the causes enables the team to modify parameters used in real time or make other immediate changes in the BHA or drilling system with a higher degree of confidence they will increase drill rate or extend bit and BHA life. The field documentation also provides the basis for more detailed post-drill assessment or extensive redesign if needed. While other data should be analyzed to confirm the cause, the damage that's observed in the photo documentation is the most important in directing the actual redesign effort. For example, downhole accelerometer data may indicate the presence of BHA whirl but whether this damages the bit in a given situation is unpredictable. Whirl may not be the priority of redesign unless the photo documentation shows a pattern of damage that is known to be specifically due to BHA whirl. These photo documentation practices were developed specifically to support real time drilling forensics. The guidelines were compiled from the practices of multiple operators, bit manufacturers, and service companies with significant experience in utilizing similar photo documentation practices to support real time decisions. The photo documentation is not complex and experience has shown that within a short period of training and daily discussions the collection of high-quality photos becomes a routine, sustainable practice. The work described in this paper is part of a joint International Association of Drilling Contractors (IADC)/ Society of Petroleum Engineers (SPE) industry effort to revise the IADC dull grade manual.
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Holloway, Paul, Raymond O'Connor, Denis Linehan i Therese Kenna. "Digital (Urban) Geography: Student-led research methodology training using smartphone apps". W Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.30.
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In the last decade, opportunities have emerged to deploy new digital technologies to research agendas and research-led teaching at third level. For instance, research methods such as surveys and questionnaires are shifting into the digital environment, while at the same time there is increasing evidence to support the view that people who have grown up with technology have acquired distinctive new ways of learning, and that traditional methodologies fail to maximise student engagement (Lafuente 2018). Thompson (2013) suggests that these ‘new learners’ are constantly using technology, multi-tasking in interactive environments, and collaborating online, yet research shows that many students are unaware of the potential of their smartphone to support learning (Woodcock et al, 2012). Despite a widespread interest in mobile devices facilitating teaching and learning in third-level education geography departments (Welsh et al. 2013), many research techniques are still taught using traditional ‘pen-and-paper’ methodologies. The ESRI Collector for ArcGIS is a mobile application (app) that can be used with iOS, Android, and Windows smartphones. Collector for ArcGIS is beginning to emerge as a technology to support spatial thinking in geography at second-level education and third-level education (Pánek and Glass 2018). Here we report on our strategy of integrating mobile technology in GG1015 Applied Geography, a large (250+) class introducing first year BA Arts Geography programme students to a number of techniques that we use in Geography. This module sits between GG1013 Environmental Geography and GG1014 Society and Space in the first-year programme. Both of these modules are a block of 24 1-hour lectures, with multiple choice quizzes (MCQs) and essay-based exams. Subsequently, GG1015 was developed to compliment these modules and introduce different teaching styles that facilitate learning across a range of diversities. Throughout this module, students engage directly in fieldwork, photographic activities, essay writing, presentations, and small group work. As such, this module offers an excellent case study to explore new techniques to engage students in learning, particularly in geographic research.
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Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography". W LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.
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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to other art forms, particularly by: 1) emphasizing Hervé’s artistic, partly non-representational, approach to architectural photography; 2) employing principles of musical composition; and 3) approximating photographic practise of documenting sculpture. Keywords: architectural photography, photo book,Lucien Hervé,LeCorbusier, Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.935
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Terayama, Kei, i Hirohisa Hioki. "A practical classifier for photographs and non-photographic images based on local visual features". W 2015 14th IAPR International Conference on Machine Vision Applications (MVA). IEEE, 2015. http://dx.doi.org/10.1109/mva.2015.7153192.
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Martins, Nuno, Daniel Brandão, Eliana Penedos-Santiago, Heitor Alvelos, Cláudia Lima, Susana Barreto i Ana Clara Roberti. "Self-initiated practices in the urban community of Balteiro: Design challenges in a post-pandemic setting". W 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002029.
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This project aims to identify, document, interpret and disseminate current self-regulated community practices in social housing neighborhoods in the city of Vila Nova de Gaia, Portugal, in 2021. The main, specific case study is the neighborhood of Balteiro. We present methodologies and the first outcomes of the ethnographic work developed at Balteiro, namely an analysis of the origins, dynamics, needs and current challenges in face of post-pandemic scenarios in the present and future of two local initiatives: Associação Recreativa Clube Balteiro Jovem (ARCBJ) and (School Workshop of cartoning and sewing (Escola Oficina); additionally, it presents a first set of hypotheses on how Design may contribute to the resonance of these initiatives in other, equivalent similar social contexts.We argue that COVID-19 pandemic regulations, as well as their economic consequences, have had a significant impact on the nature and viability of the aforementioned practices: as a consequence of social distancing and a phobia of the collective, long periods of lockdown and a radical emptying of public space, prior models of creative communal practice will need re-assessing and re-invention.In turn, the proposal to document and disseminate these practices through Design aims to strengthen the mechanisms of empathy and social solidarity among citizens. The research intends to branch out into intuitive, practical and structural issues: preliminary work has been carried out with the Vila Nova de Gaia City Council and the aforementioned residents' associations ARCBJ and Escola Oficina. Emic data is being collected through methods of direct and indirect observation, including ethnographic interviews, focus groups, and participant observation. Audiovisual and photographic content will be collected towards a bank of resources for further scrutiny and employment in exploratory approaches. The research is therefore aimed at providing strategic outcomes, future replication, contextual adaptation and upscaling to national and international contexts. Inner dynamics in these neighborhoods have always tended to be suspicious of external presence and influence, often relying on self-initiated community practices: sports, recreational and cultural activities and professional training in crafts, examples of successful autonomous processes of civic development throughout the years. This contrasts with the broader socio-cultural context of Portugal, where the norm points towards a reliance on institutional tutelage.This traditional reliance has become an issue in the current scenario of a global pandemic: citizens have witnessed the evidence that former socio-cultural practices may come to struggle in current and emerging scenarios. As such, there is an inevitability in enquiring on the nature, purpose, viability and impact of self-initiated community activities in a post-COVID scenario. Furthermore: can we mediate this socio-cultural reconfiguration on a local scale, towards a broader, networked process of regeneration?
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Paananen, H., i J. Rajala. "Distribution network aerial photographing benefits in practice". W 22nd International Conference and Exhibition on Electricity Distribution (CIRED 2013). Institution of Engineering and Technology, 2013. http://dx.doi.org/10.1049/cp.2013.0948.
Pełny tekst źródłaRaporty organizacyjne na temat "Photographic Practice"
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Baker, James, i Sofya Shahab. Preserving Communities' Heritage: A Workbook for Heritage Capturers. Institute of Development Studies (IDS), listopad 2021. http://dx.doi.org/10.19088/creid.2021.006.
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This is a practical workbook to guide local communities and heritage gatherers through the process of capturing and storing their heritage for future generations. Through initiatives with the British Academy and the Coalition for Religious Equality and Inclusive Development (CREID), the Institute of Development Studies (IDS) has been working with young people in Egypt, Iraq and Syria to capture their oral heritage, so that it may be preserved for future generations. Alongside life history interviews and topic interviews - which cover particular aspects of communities’ heritage - a key component of this heritage preservation is how these records will be stored. Thinking about the language and accessibility of digital archiving practices, this workbook is a practical guide to capturing and storing “heritage harvests”, including community interviews, photographs, and short films.
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Bridges, Todd, E. Bourne, Burton Suedel, Emily Moynihan i Jeff King. Engineering With Nature : An Atlas, Volume 2. Engineer Research and Development Center (U.S.), marzec 2021. http://dx.doi.org/10.21079/11681/40124.
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Engineering With Nature: An Atlas, Volume 2 showcases EWN principles and practices "in action" through 62 projects from around the world. These exemplary projects demonstrate what it means to partner with nature to deliver engineering solutions with triple-win benefits. The collection of projects included were developed and constructed by a large number of government, private sector, non-governmental organizations, and other organizations. Through the use of photographs and narrative descriptions, the EWN Atlas was developed to inspire interested readers and practitioners with the potential to engineer with nature.
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Semerikov, Serhiy O., Mykhailo M. Mintii i Iryna S. Mintii. Review of the course "Development of Virtual and Augmented Reality Software" for STEM teachers: implementation results and improvement potentials. [б. в.], 2021. http://dx.doi.org/10.31812/123456789/4591.
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The research provides a review of applying the virtual reality (VR) and augmented reality (AR) technology to education. There are analysed VR and AR tools applied to the course “Development of VR and AR software” for STEM teachers and specified efficiency of mutual application of the environment Unity to visual design, the programming environment (e.g. Visual Studio) and the VR and AR platforms (e.g. Vuforia). JavaScript language and the A-Frame, AR.js, Three.js, ARToolKit and 8th Wall libraries are selected as programming tools. The designed course includes the following modules: development of VR tools (VR and Game Engines; physical interactions and camera; 3D interface and positioning; 3D user interaction; VR navigation and introduction) and development of AR tools (set up AR tools in Unity 3D; development of a project for a photograph; development of training materials with Vuforia; development for promising devices). The course lasts 16 weeks and contains the task content and patterns of performance. It is ascertained that the course enhances development of competences of designing and using innovative learning tools. There are provided the survey of the course participants concerning their expectations and the course results. Reduced amounts of independent work, increased classroom hours, detailed methodological recommendations and increased number of practical problems associated with STEM subjects are mentioned as the course potentials to be implemented.
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Brophy, Kenny, i Alison Sheridan, red. Neolithic Scotland: ScARF Panel Report. Society of Antiquaries of Scotland, czerwiec 2012. http://dx.doi.org/10.9750/scarf.06.2012.196.
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The main recommendations of the Panel report can be summarised as follows: The Overall Picture: more needs to be understood about the process of acculturation of indigenous communities; about the Atlantic, Breton strand of Neolithisation; about the ‘how and why’ of the spread of Grooved Ware use and its associated practices and traditions; and about reactions to Continental Beaker novelties which appeared from the 25th century. The Detailed Picture: Our understanding of developments in different parts of Scotland is very uneven, with Shetland and the north-west mainland being in particular need of targeted research. Also, here and elsewhere in Scotland, the chronology of developments needs to be clarified, especially as regards developments in the Hebrides. Lifeways and Lifestyles: Research needs to be directed towards filling the substantial gaps in our understanding of: i) subsistence strategies; ii) landscape use (including issues of population size and distribution); iii) environmental change and its consequences – and in particular issues of sea level rise, peat formation and woodland regeneration; and iv) the nature and organisation of the places where people lived; and to track changes over time in all of these. Material Culture and Use of Resources: In addition to fine-tuning our characterisation of material culture and resource use (and its changes over the course of the Neolithic), we need to apply a wider range of analytical approaches in order to discover more about manufacture and use.Some basic questions still need to be addressed (e.g. the chronology of felsite use in Shetland; what kind of pottery was in use, c 3000–2500, in areas where Grooved Ware was not used, etc.) and are outlined in the relevant section of the document. Our knowledge of organic artefacts is very limited, so research in waterlogged contexts is desirable. Identity, Society, Belief Systems: Basic questions about the organisation of society need to be addressed: are we dealing with communities that started out as egalitarian, but (in some regions) became socially differentiated? Can we identify acculturated indigenous people? How much mobility, and what kind of mobility, was there at different times during the Neolithic? And our chronology of certain monument types and key sites (including the Ring of Brodgar, despite its recent excavation) requires to be clarified, especially since we now know that certain types of monument (including Clava cairns) were not built during the Neolithic. The way in which certain types of site (e.g. large palisaded enclosures) were used remains to be clarified. Research and methodological issues: There is still much ignorance of the results of past and current research, so more effective means of dissemination are required. Basic inventory information (e.g. the Scottish Human Remains Database) needs to be compiled, and Canmore and museum database information needs to be updated and expanded – and, where not already available online, placed online, preferably with a Scottish Neolithic e-hub that directs the enquirer to all the available sources of information. The Historic Scotland on-line radiocarbon date inventory needs to be resurrected and kept up to date. Under-used resources, including the rich aerial photography archive in the NMRS, need to have their potential fully exploited. Multi-disciplinary, collaborative research (and the application of GIS modelling to spatial data in order to process the results) is vital if we are to escape from the current ‘silo’ approach and address key research questions from a range of perspectives; and awareness of relevant research outside Scotland is essential if we are to avoid reinventing the wheel. Our perspective needs to encompass multi-scale approaches, so that ScARF Neolithic Panel Report iv developments within Scotland can be understood at a local, regional and wider level. Most importantly, the right questions need to be framed, and the right research strategies need to be developed, in order to extract the maximum amount of information about the Scottish Neolithic.
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The CIE 2016 Colour Appearance Model for Colour Management Systems: CIECAM16. International Commission on Illumination, marzec 2022. http://dx.doi.org/10.25039/tr.248.2022.
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A colour appearance model provides a viewing-condition-specific method for the transformation of the tristimulus values, X, Y, Z, to or from perceptual attribute correlates. This publication describes a specific colour appearance model, CIECAM16, which may be useful for colour management systems, used in the imaging industries, that involve related colours. The main applications of the model are the evaluation of photographic prints and self-luminous displays, where the colours will be perceived as related colours. This model is based on the CAM16 colour appearance model. It consists of a chromatic adaptation transform and equations to calculate a set of perceptual attribute correlates using the CIE 1931 standard colorimetric observer. This report provides revisions to the CIE colour appearance model for colour management systems that involve related colours, CIECAM02. The CIECAM16 model is simpler than the original CIECAM02 model, but it maintains the same prediction performance for visual data as the original model. The evolution and application of this colour appearance model, CIECAM16, are presented, as is additional information about the use of the model in practical applications. The publication is written in English, with a short summary in French and German. It consists of 38 pages with 6 figures and is readily available from the CIE Webshop or from the National Committees of the CIE.