Статті в журналах: "Department of Printing and Photography"

1

Valk, Piret. "Kõik värviks: Eestis kasvanud taimedest saadud värvid tekstiilil / All for colours: dyes from plants growing in Estonia on textile." Studia Vernacula 12 (November 5, 2020): 154–97. http://dx.doi.org/10.12697/sv.2020.12.154-197.

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The research carried out during practical work at the Department of Textile Design of the Estonian Academy of Arts focuses on the acquisition of plant and alternative synthetic textile dyes in Estonian weather conditions in the context of textile printing and dyeing. The aim is to study the effect of plant dyes on textiles, by modifying different variables. As the result of testing, the author wanted to select more intensive plants and techniques, which withstand at least a first warm washing, and which could be studied further via a more systematic experimenting and testing. In order to get multiple results at once, the majority of tests in fact comprise 12 tests, the results of which are presented on one page, including 12 samples of dye and the initial information about plants and procedures. A collection of dye samples comprises 132 test sheets, and presents the practical results of the research. All practical tests are documented with written descriptions compiled as an annex to the test sheets; some tests are also photographed. It was observed how the dyeing results depend upon different conditions, e.g. the time of collecting plants, the dyeing process, the dyed textile fibres or the acidity of the solution. In order to fix the dye in textile different methods were applied, and the impact of temperature, time, different tanning substances, water and oxygen on the tone of the dye and its intensity was studied. Most samples of dyes have been washed in water at least 50 °C warm and ironed at a minimum of 200 °C after the dyeing process. The author searched for possible sources of natural dyes in Estonia, taking into account the local tradition of natural dyes, and also exploring the options of introducing species not so well known as dyeing plants. The author cultivated plants for testing and collected species widespread in nature. The author discusses environmental problems connected with collecting and growing the plants, such as moving in nature and the hazard of the expansion of invasive non-native species on the local richness of species. The choice of plants for this research paper is based on several different principles, which typically occur when searching for a possible source of dye. Based on the courses of thought, the author divides the plants used into eight theme groups with conditional names is as follows: ‘Primeval’, ‘Exotic’, ‘Weeds’, ‘Name shows the destiny’, ‘Compost’, ‘Minor relatives’, ‘Plants with beautiful colour’ and ‘Two-in-one’. Common bright colours, which tolerated washing in warm water but needed technological improvement for increased light-resistance could be mentioned, e.g. the Dyer’s woad giving the blue dye, the Northern bedstraw giving red tones, Safflower that gives pink and yellow tones. Many plants gave warm brown tones. Among technologies, the most promising proved to be Joy Boutrup’s technique for reserve printing, during which the sodium alginate printed on the cloth is transferred into unsolvable form. Biological tanning substances, renewable energy like solar power, and the use of a high temperature by extending the low dyeing time and bacterial fermentation dyeing might be some further steps in the development of sustainable dyeing processes. Finding low-cost production dyeing plants among weeds, the restricted use of non-native species, and of plant residue of food industry and other sectors would be a valuable and sustainable source of dye. Key words: dyeing with plants, natural dyes, dye plants, textile printing, printing techniques, tannins

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2

Valk, Piret. "Kõik värviks: Eestis kasvanud taimedest saadud värvid tekstiilil / All for colours: dyes from plants growing in Estonia on textile." Studia Vernacula 12 (November 5, 2020): 154–97. http://dx.doi.org/10.12697/sv.2020.12.154-197.

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The research carried out during practical work at the Department of Textile Design of the Estonian Academy of Arts focuses on the acquisition of plant and alternative synthetic textile dyes in Estonian weather conditions in the context of textile printing and dyeing. The aim is to study the effect of plant dyes on textiles, by modifying different variables. As the result of testing, the author wanted to select more intensive plants and techniques, which withstand at least a first warm washing, and which could be studied further via a more systematic experimenting and testing. In order to get multiple results at once, the majority of tests in fact comprise 12 tests, the results of which are presented on one page, including 12 samples of dye and the initial information about plants and procedures. A collection of dye samples comprises 132 test sheets, and presents the practical results of the research. All practical tests are documented with written descriptions compiled as an annex to the test sheets; some tests are also photographed. It was observed how the dyeing results depend upon different conditions, e.g. the time of collecting plants, the dyeing process, the dyed textile fibres or the acidity of the solution. In order to fix the dye in textile different methods were applied, and the impact of temperature, time, different tanning substances, water and oxygen on the tone of the dye and its intensity was studied. Most samples of dyes have been washed in water at least 50 °C warm and ironed at a minimum of 200 °C after the dyeing process. The author searched for possible sources of natural dyes in Estonia, taking into account the local tradition of natural dyes, and also exploring the options of introducing species not so well known as dyeing plants. The author cultivated plants for testing and collected species widespread in nature. The author discusses environmental problems connected with collecting and growing the plants, such as moving in nature and the hazard of the expansion of invasive non-native species on the local richness of species. The choice of plants for this research paper is based on several different principles, which typically occur when searching for a possible source of dye. Based on the courses of thought, the author divides the plants used into eight theme groups with conditional names is as follows: ‘Primeval’, ‘Exotic’, ‘Weeds’, ‘Name shows the destiny’, ‘Compost’, ‘Minor relatives’, ‘Plants with beautiful colour’ and ‘Two-in-one’. Common bright colours, which tolerated washing in warm water but needed technological improvement for increased light-resistance could be mentioned, e.g. the Dyer’s woad giving the blue dye, the Northern bedstraw giving red tones, Safflower that gives pink and yellow tones. Many plants gave warm brown tones. Among technologies, the most promising proved to be Joy Boutrup’s technique for reserve printing, during which the sodium alginate printed on the cloth is transferred into unsolvable form. Biological tanning substances, renewable energy like solar power, and the use of a high temperature by extending the low dyeing time and bacterial fermentation dyeing might be some further steps in the development of sustainable dyeing processes. Finding low-cost production dyeing plants among weeds, the restricted use of non-native species, and of plant residue of food industry and other sectors would be a valuable and sustainable source of dye. Key words: dyeing with plants, natural dyes, dye plants, textile printing, printing techniques, tannins

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3

Ohno, Shin. "Digital Photography and Color Printing." Journal of Imaging Science and Technology 40, no. 6 (November 1, 1996): 556–67. http://dx.doi.org/10.2352/j.imagingsci.technol.1996.40.6.art00012.

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4

Lally, Eugene F. "INNOVATIONS IN PHOTOGRAPHY: Digital Printing Techniques." Anthropology News 44, no. 4 (April 2003): 17. http://dx.doi.org/10.1111/an.2003.44.4.17.1.

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5

Wang, Hui. "Cyanotype Technology Research and Practice." Advanced Materials Research 557-559 (July 2012): 2431–33. http://dx.doi.org/10.4028/www.scientific.net/amr.557-559.2431.

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This paper based on the Cyanotype printing process as the main line, explore the application value of traditional technology in the modern photography, and also giving constructive suggestions for the modern photography skill teaching .

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6

Klosterman, Tristan, and Thomas Romo III. "Three-Dimensional Printed Facial Models in Rhinoplasty." Facial Plastic Surgery 34, no. 02 (February 21, 2018): 201–4. http://dx.doi.org/10.1055/s-0038-1632398.

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AbstractDigital patient photography and morphing software have become an important part of rhinoplasty over the past few decades. Presented is a novel technology incorporating 3D photography and printing to produce life-size models for use in patient evaluation and treatment. Surveys were conducted to assess patient response and were universally positive. Early surgeon experience also indicates benefit for intraoperative use. Three-dimensional printing and modeling is a new technology that has exciting applications for rhinoplasty and facial plastic surgery.

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7

Storrow, Alan B., Lawrence B. Stack, and Phred Petersen. "An Approach to Emergency Department Photography." Academic Emergency Medicine 1, no. 5 (September 29, 2008): 454–62. http://dx.doi.org/10.1111/j.1553-2712.1994.tb02527.x.

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8

Hunt, R. W. G. "The Reproduction of Colour in Photography, Printing and Television." Journal of Photographic Science 36, no. 1 (January 1988): 30. http://dx.doi.org/10.1080/00223638.1988.11736954.

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9

Ahmad, I. "Digital dental photography. Part 10: printing, publishing and presentations." British Dental Journal 207, no. 6 (September 2009): 261–65. http://dx.doi.org/10.1038/sj.bdj.2009.814.

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10

Shamriz, Lior. "Photography of indenture." Journal of New Zealand & Pacific Studies 12, no. 1 (June 1, 2024): 55–72. http://dx.doi.org/10.1386/nzps_00187_1.

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The 1882 photography book by British photographer Colonel Henry Stuart Wortley, Tahiti: A Series of Photographs, features an image of a family of service workers. Wortley, who only briefly passed through the island, refers to the couple in the photograph as his ‘servants’. This article traces the margins of the journey of Wortley, as well as that of Lady Annie Brassey, an ultra-wealthy traveller and photography enthusiast who visited Tahiti in 1876 and who contributed the letterpress to Wortley’s book. By analysing the text and images of the book and looking at the historical context of Tahiti at that time, and the place European military personnel, travellers, entrepreneurs, royals and local workers had in the island’s economy and society, this article argues for the incentives and implications of trivializing and invisiblizing Tahitian labour. Looking at our engagement with a photograph as a transtemporal performance, beginning in the photograph’s commission, through the moment of encounter and until its printing and viewing years later, this article considers as a beginning of an entanglement the encounter between Wortley and the Tahitian family. I discuss how, by travelling in 2022 to Tahiti and revisiting Wortley’s photographs in different locations around the island, I aimed to influence those entanglements.

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11

Watanabe, Takashi, Ryo Kuroda, and Yasushi Hoshino. "Color Transformation to Photography Tone in Digital Camera Printing System." NIP & Digital Fabrication Conference 15, no. 1 (January 1, 1999): 382–85. http://dx.doi.org/10.2352/issn.2169-4451.1999.15.1.art00003_2.

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12

Wergin, William P., and Christopher D. Pooley. "Artifacts in microscopy: Photography and interpretation." Proceedings, annual meeting, Electron Microscopy Society of America 49 (August 1991): 344–45. http://dx.doi.org/10.1017/s0424820100086027.

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For the biologist, artifacts can be defined as any manifestations that result from mechanical manipulations or chemical reagents and are not representative of authentic structural relationships. In electron microscopy, living biological tissues are generally sampled, fixed, frozen, dehydrated, embedded, critical point dried, sectioned, mounted, stained, and/or coated - mechanical and chemical manipulations that undoubtedly produce artifacts. However, potential problems do not end once the specimen is in the microscope, because numerous artifacts, which we will classify as photographic and interpretive, are also associated with recording images, processing films, printing negatives, and understanding the final print. Artifacts associated with these four procedures will be addressed in this discussion.

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13

Bruce, Beau B., Cédric Lamirel, David W. Wright, Antoinette Ward, Katherine L. Heilpern, Valérie Biousse, and Nancy J. Newman. "Nonmydriatic Ocular Fundus Photography in the Emergency Department." New England Journal of Medicine 364, no. 4 (January 27, 2011): 387–89. http://dx.doi.org/10.1056/nejmc1009733.

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14

Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.

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Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photography as a museum department or academic field of study offers the promise to counter far larger impulses toward totalization, above all in a marketplace beset by an obsession with global contemporary art. What the study of photographs can model is a field of creation that moves in, under, and against “art in general.”

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15

Stoianova, Inga. "LINGUISTIC ANALYSIS OF ENGLISH PHOTOGRAPHY TERMINOLOGY." Journal of Social Sciences V, no. 1 (February 2022): 41–49. http://dx.doi.org/10.52326/jss.utm.2022.5(1).05.

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The purpose of the present investigation is to perform a linguistic analysis of the English vocabulary of photography as a means of professional communication. The research includes a brief historical introduction to the progress of photography (diachronic approach) to study the (co)relationship between the development of photographic science and enrichment of its specialized lexical fund based on newly formed scientific concepts. The concept and quantitative analysis of the studied corpus established the predominance of the terminological units that are part of the conceptual groups, denoting the photo camera and its settings, photo editing and printing, lighting, photography metering, and issues. The ways of formation of English terminology of photography were investigated using structural, morphological, and componential analyses. The data acquired showed a variable number of terminological units formed according to various structural models. In the process of photographic terminology formation, substantive type of terminological combinations predominates, followed by the derivative units, simple and compound terminological units. Photography abbreviations as a form of language, time, and space economy were also structurally and semantically studied.

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16

Scatigno, Claudia, Lorenzo Teodonio, Eugenia Di Rocco, and Giulia Festa. "Spectroscopic Benchmarks by Machine Learning as Discriminant Analysis for Unconventional Italian Pictorialism Photography." Polymers 16, no. 13 (June 28, 2024): 1850. http://dx.doi.org/10.3390/polym16131850.

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Up to the 1930s, the Italian pictorialism movement dominated photography, and many handcrafted procedures started appearing. Each operator had his own working method and his own secrets to create special effects that moved away from the standard processes. Here, a methodology that combines X-ray fluorescence and infrared analysis spectroscopy with unsupervised learning techniques was developed on an unconventional Italian photographic print collection (the Piero Vanni Collection, 1889–1939) to unveil the artistic technique by the extraction of spectroscopic benchmarks. The methodology allowed the distinction of hidden elements, such as iodine and manganese in silver halide printing, or highlighted slight differences in the same printing technique and unveiled the stylistic practice. Spectroscopic benchmarks were extracted to identify the elemental and molecular fingerprint layers, as the oil-based prints were obscured by the proteinaceous binder. It was identified that the pigments used were silicates or iron oxide introduced into the solution or that they retraced the practice of reusing materials to produce completely different printing techniques. In general, four main groups were extracted, in this way recreating the ‘artistic palette’ of the unconventional photography of the artist. The four groups were the following: (1) Cr, Fe, K, potassium dichromate, and gum arabic bands characterized the dichromate salts; (2) Ag, Ba, Sr, Mn, Fe, S, Ba, gelatin, and albumen characterized the silver halide emulsions on the baryta layer; (3) the carbon prints were benchmarked by K, Cr, dichromate salts, and pigmented gelatin; and (4) the heterogeneous class of bromoil prints was characterized by Ba, Fe, Cr, Ca, K, Ag, Si, dichromate salts, and iron-based pigments. Some exceptions were found, such as the baryta layer being divided into gum bichromate groups or the use of albumen in silver particles suspended in gelatin, to underline the unconventional photography at the end of the 10th century.

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17

Mureșan, Anca. "PHOTOGRAPHY IN THE PRACTICE OF CONTEMPORARY PAINTING. A PEDAGOGICAL PERSPECTIVE." Studia Universitatis Babeș-Bolyai Historia Artium 68 (December 30, 2023): 165–88. http://dx.doi.org/10.24193/subbhistart.2023.07.

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Photography in the Practice of Contemporary Painting. A Pedagogical Perspective. Photography is a technological medium that suffers continuous evolution. From its earliest developments to the various types of recent printing, the photographic image has become an avatar of the world. Since images are irreversibly intertwined with human activity, their usage becomes an increasingly frequent practice in the area of traditional creative techniques. This article discusses some examples of this usage in the context of contemporary painting studios in higher education. Photography is accessed by young students and the foray into photographic documentation is now an inevitable tool. The way students use it as an intermediary can be disruptive to their learning process, as long as the role of photography in painting practice is not fully comprehended. There are different ways of integrating photography into the practice of contemporary painting. The present article addresses conceptual aspects, presents several particular situations and launches some perspectives for better understanding these practices. Photography is a tool, not an end, but what happens when these terms juxtapose or are taken for granted? What kind of painting results out of the practical process “contaminated” by photography? However, if technology is properly and timely integrated in the practice of painting, one can no longer talk about a “contamination”, but rather about a conscious process able to generate quality painting. Keywords: painting, photography, hyper-realism, photorealism, contemporary art, art teaching, art pedagogy, art courses, artist, contemporary painters

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18

Puškaš, Nela, and Ivana Arađanin. "Photography Department of professor Aleksandar Kostić: Establishment, achievements and significance." Zdravstvena zastita 51, no. 4 (2022): 16–31. http://dx.doi.org/10.5937/zdravzast51-41664.

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In 1924, Dr. Aleksandar Đ. Kostić, the first Professor of Histology and Embryology and the founder of the Institute of Histology at the Faculty of Medicine in Belgrade, formed the Photography Department within the Institute. The first photographs were microphotographs of histological specimens and a certain number of them were published in 1925 in the Microphotographic Atlas of Normal Histology. However, a greater number of photographs were used for the preparation of microphotograms, that is, black and white diapositives which were shown during lectures and laboratory practices. In the following years, Professor Kostić expanded his photographic topics to pathohistological specimens, urine crystals, and bacteriological samples, operative and autopsy material, and embryological and teratological samples. A particularly important activity of the Department was making photographs of patients. Patients were photographed in hospitals or in the studio of the Photography Department. In addition to photographs, the first films entitled Blood flow in the peritoneal membrane of a frog and Blood flow in the interdigital membrane of a frog were made there. During the Second World War occupation, the Germans took away the photographic equipment and consumables, but after the liberation, at the beginning of 1946, the work was restored. In addition to photography, Professor Kostić organized filming and he directed the first medical films in the first post-war years. The Department was still the center of medical photography at the Faculty, while Professor Kostić was the head until 1952, when he was removed from the Faculty of Medicine due to political reasons.

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Leibova, N. A., and M. B. Leibov. "Digital Anthropological photography." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 4(59) (December 15, 2022): 132–46. http://dx.doi.org/10.20874/2071-0437-2022-59-4-11.

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Despite the fact that in recent years the anthropologist's arsenal has significantly expanded due to the intro-duction of digital 3D scanning, computed tomography, microtomography, etc. into the practice of anthropological research, for most researchers photography remains an important part of the scientific process. Moreover, the resulting images are increasingly subject to higher requirements, since they often appear in scientific circulation much faster than before, bypassing editors and professional retouchers of publishers thanks to various kinds of Internet resources, such as presentations, on-line Internet conferences, reports, etc. In this new digital reality, the researcher acts as both an expert, a director, and an operator of a photo session and is solely responsible for the quality of the result and for its compliance with the goals of the shooting. The high intelligence of modern digital cameras creates a false impression in the beginner’s mind that camera can always be given freedom in making decisions regarding the shooting parameters. However, as shown in the article, there are a number of shooting situations when targeted manual management of shooting parameters is necessary to obtain a positive result. The following information will help the photographer do this. The purpose of our article is to help the researcher anthropologist qualitatively solve his problems using a digital camera. We will try to give an idea of those basic concepts, features of technology and techniques that determine the work of a photographer within the digital space. To this end, the article discusses the main technical and methodological techniques of anthropological photography within the digital space. A brief definition of the basic concepts of the “digital world” and the most important technical characteristics of modern digital cameras are given. The main part of the article is devoted to photography of paleoanthropological materials. Particular attention is paid to the shooting of the skull and odon-tological materials. Specific recommendations are given on the management of shooting parameters and on the organization of the shooting process, the use of which will allow the researcher to obtain high-quality digital pho-tographs of the studied anthropological objects that meet both the requirements of modern printing and the re-quirements of representation on Internet resources.

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Salam, Junaidi. "EKSPLORASI CETAK FOTOGRAFI VANDYKE PADA MATERIAL KULIT." Narada : Jurnal Desain dan Seni 6, no. 3 (December 19, 2019): 387. http://dx.doi.org/10.22441/narada.2019.v6.i3.004.

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As part of the fashion material repertoire, leather has a lot of travel in the exploration and development of material functions, both technological development and the development of aesthetic basic material fashion products, so designers often use this material to increase the high economic value in the fashion industry. old print photography has indeed been abandoned a lot over the times and advances in photographic technology, but in retrospect, it has revived the passion for the search for unique aesthetic values of the old photographic processes and characteristics. This study focuses on experiments with Vandyke's photographic printing on leather material, especially in producing character and the application of photographic aesthetics into fashion material. This research is driven by a number of basic assumptions about the possibility of Vandyke printing applied to leather material, as well as efforts to produce realistic visual motifs in the style of retrospective photography techniques. While the effort that can be done is to determine the variable composition of chemicals in the Vandyke process towards the characteristics of the leather material that has been determined in a laboratory experiment.

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21

Rykner, Arnaud. "Theatre Photography in Nineteenth Century France: Document, Archive or Pure Fiction?" Studia Universitatis Babeş-Bolyai Dramatica 66, no. 2 (October 30, 2021): 47–72. http://dx.doi.org/10.24193/subbdrama.2021.2.04.

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"Indoor performance photography, which was born in France on the occasion of the Paris World Exhibition in 1889, remains a problematic theatrical and media object to this day. But at the Belle Epoque and until the Second World War at least, it requires to be approached with all the more caution because it is always the fruit of multiple manipulations, either at the time of the making of the shots (mandatory posing of actors, specific lighting, etc.), or at the time of their “post-production” (printing, but especially edition in review or volume). A complex and particularly rich object that must be studied in its context (publications or archives), stage photography is then offered as much as a document to be deciphered as a fiction to be deconstructed. Keywords: theatre photography, France, Belle Epoque, document, photographic archives. "

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22

Lenshan, Gail, and Georgia A. Pasqualone. "The importance of forensic photography in the emergency department." Journal of Emergency Nursing 21, no. 6 (December 1995): 566–67. http://dx.doi.org/10.1016/s0099-1767(05)80282-x.

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23

Brown, L., A. O. Arthur, C. Soliman, and S. H. Thomas. "240 Digital Retinal Photography Feasibility in the Emergency Department." Annals of Emergency Medicine 60, no. 4 (October 2012): S87. http://dx.doi.org/10.1016/j.annemergmed.2012.06.218.

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24

Cheung, A. "Patients' attitudes toward medical photography in the emergency department." Emergency Medicine Journal 22, no. 8 (August 1, 2005): 609. http://dx.doi.org/10.1136/emj.2004.019893.

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25

Ryan, John M., and Paul L. Gaudry. "Practical guidelines for emergency department photography and video recording." Emergency Medicine 8, no. 3 (August 26, 2009): 136–39. http://dx.doi.org/10.1111/j.1442-2026.1996.tb00597.x.

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26

Hernández Cano, Eduardo. "Printing the ‘People’: Populism, Photography, and the Spanish Republican Nation (1931–1936)." European History Quarterly 50, no. 2 (April 2020): 311–30. http://dx.doi.org/10.1177/0265691420911288.

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The very first Article of the 1931 Spanish constitution declared ‘Spain is a democratic republic of workers of all classes’ and that ‘The powers of all its organs derive from the People’. But who were those workers, those People? This populist nationalism was key in legitimizing the Second Spanish Republic and in many of its political and cultural projects, but the state did not develop a clear image of the people. This should come as no surprise, since the ‘People’ was a contested concept in the 1930s, appropriated by different political parties and groups. How were Spaniards supposed to visualize themselves then? Who embodied the Spanish nation in the 1930s, and how was it represented? In this article, I show how different social actors – the state, photographers, the illustrated press – developed varying images of the ‘People’, focused either on the rural population or urban dwellers, who were supposed to play an important role in defining the new Republican nation. These photographic representations offer a window on to the complexities of the intersection between nationalism, populism, and social and political conflict in 1930s Spain, and how the nation was built through printed culture.

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27

FISHENDEN, R. B. "The Use of Photography in the Engraving of Rollers for Calico Printing." Journal of the Society of Dyers and Colourists 32, no. 6 (October 22, 2008): 156–59. http://dx.doi.org/10.1111/j.1478-4408.1916.tb00925.x.

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28

Santana, Maria Cristina. "Traditional or Digital Photojournalism Education? A Survey of Four-Year Photo Programs and Small Dailies' Photo Needs." Journal of Educational Technology Systems 25, no. 4 (June 1997): 351–61. http://dx.doi.org/10.2190/1746-t2pm-9b1t-tma2.

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This article is based on a national survey of schools with a four-year, photography program under a Communication Department, and of national daily newspapers with a circulation under 50,000. The researcher was interested in defining the knowledge needed by a graduate from a photo program to find employment at a small daily newspaper. Department chairs or sequence heads of each college program were asked to fill out the same survey given to the photo editors of the dailies selected. The questions ranged from photo equipment to instruction in digital and word processing software. The results showed both colleges and newspapers are embracing the new technology of computer enhanced instruction. Dailies rated the use of negative or slide scanners as most important, while colleges rated the use of computer software for photography most important. Another result of the survey is that both groups place little significance on medium and large format photography and photography assignments such as food or fashion illustration. Educators rated having a journalism background ninth in importance. This result is interesting when one considers that more than 85 percent of photography programs belong to Journalism Departments. This article explores possible curriculum changes to a Photojournalism/Visual Communication program.

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29

Yuan, Lei. "Hand and Eye: Study on the Relationship between Painting and Photography from Benjamin's Perspective." International Journal of Arts and Humanities Studies 4, no. 1 (January 20, 2024): 09–13. http://dx.doi.org/10.32996/ijahs.2024.4.1.2.

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The birth of printing brought great changes to literature, and the continuous fragmentation of printmaking media allowed pictorial art products to flow into the market. However, no one could have imagined that just a few decades later, the birth of photography would remove the human hand from the main artistic task of image reproduction, which would henceforth be reserved for the eyes staring at the lens. Walter Benjamin, as an early scholar among Western intellectuals in the 20th century, paid attention to the study of the relationship between photography and painting. The Small History of Photography and Works of Art in the Era of Mechanical Reproduction written by him can be regarded as classic works of photographic theory, modern cultural theory and modern art theory. His focus is on the juxtaposition study of photography and painting, two art categories that are both visual image presentation, which is pioneering, original and foundational. Although the paper is not long, the game between symbol and image, politics and economy, and subjective and objective is particularly wonderful. Therefore, it is particularly necessary to dig deeper into Benjamin's theoretical connotation and fully reveal his value in all aspects. The combination of the relationship between painting and photography has also injected impetus into the construction of contemporary visual culture.

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Speyerer, Christian, Kirsten Borchers, Joachim Storsberg, Günter E. M. Tovar, Thomas Hirth, and Achim Weber. "Generation and Surface Functionalization of Electro Photographic Toner Particles for Biomaterial Applications." MRS Proceedings 1569 (2013): 165–71. http://dx.doi.org/10.1557/opl.2013.906.

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ABSTRACTIn this paper, we provide the investigation about the controlled surface functionalization of acrylic toner particles for electro photography (“laser printing”) with sodium hydroxide and the subsequent carbodiimide-mediated coupling of numerous functional amines onto the generated carboxylic group. Various chemically valuable functionalities, comprising of thiol, alkyne and azide, were bound onto the particles’ surface and allow for further versatile modifications via huisgen cycloaddition as well as thiol-ene reaction. The functionalization of the acrylic toner surface with alkyne, azide and carboxylic groups increased the cell viability up to 178 % ± 22 % and might offer an interesting path for new applications using common laser printing techniques.

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Tzoka, Stefania, Maria Tarara, and Dimosthenis L. Giokas. "Photography-based photometry: High throughput UV photometric analysis without scientific equipment based on contact printing photography and common imaging devices." Sensors and Actuators B: Chemical 328 (February 2021): 129018. http://dx.doi.org/10.1016/j.snb.2020.129018.

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Putra, Fayza Nawang Darma, and Rezania Asyfiradayati. "FAKTOR-FAKTOR YANG BERHUBUNGAN DENGAN KINERJA KARYAWAN BAGIAN PRODUKSI BENANG DI PT. ISKANDAR INDAH PRINTING TEXTILE SURAKARTA." Jurnal Ners 7, no. 1 (April 17, 2023): 594–98. http://dx.doi.org/10.31004/jn.v7i1.14068.

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Performance is a measuring tool for achieving organizational goals. There are several elements that affect employee performance, including lack of commitment, lack of desire, lack of discipline, and the heavy workload given by the employer. factors affecting employee performance. The factors that influence performance are individual factors, psychological factors and organizational environmental factors. Work facilities and company rules including overtime here are very important so that employees feel comfortable at work including avoiding work fatigue. This study aims to identify factors related to employee performance at PT. Iskandar Indah Printing Textile Surakarta. In this study using purposive sampling method. There is a significant relationship between age and the performance of employees in the yarn production department at PT.Iskandar Indah Printing Textile Surakarta. There is a significant relationship between gender and the performance of employees in the yarn production department at PT. Iskandar Indah Printing Textile Surakarta. There is no relationship between length of service and employee performance in the yarn production department at PT. Iskandar Indah Printing Textile Surakarta. There is a significant relationship between work fatigue and the performance of employees in the yarn production section at PT.Iskandar Indah Printing Textile Surakarta.

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Yu, Cheng Xin, Xiang Xia, Feng Hua Qin, and Peng Xiao. "The Application of Digital Photography Techniques in Structure Deformation Measurement." Applied Mechanics and Materials 475-476 (December 2013): 204–8. http://dx.doi.org/10.4028/www.scientific.net/amm.475-476.204.

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Introduced the use of 3D time baseline parallax method of steel structure,calculation of deformation measurement data processing methods, and the experimental results are given. This method considered the resolution, focal length, and the impact of external environmental conditions. Has made the small observation error, high precision results.Digital cameras used for digital photographic survey, avoid the complex process of measuring cameras printing. The photographic measurements can be performed simultaneously inside and outside the industry.So far, more suitable for digital camera solver methods are direct linear transformation and time baseline parallax method. Among them, 3D time baseline parallax method is mainly used for measuring spatial displacement of objects.

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Lee, John. "Photography at the Department of Conservation, National Museum of Denmark." Journal of Audiovisual Media in Medicine 21, no. 2 (January 1998): 60–63. http://dx.doi.org/10.3109/17453059809167240.

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Liu, Chao-Te, Wen-Hsi Lee, and Jui-Feng Su. "Pentacene-Based Thin Film Transistor with Inkjet-Printed Nanocomposite High-K Dielectrics." Active and Passive Electronic Components 2012 (2012): 1–7. http://dx.doi.org/10.1155/2012/921738.

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The nanocomposite gate insulating film of a pentacene-based thin film transistor was deposited by inkjet printing. In this study, utilizing the pearl miller to crumble the agglomerations and the dispersant to well stabilize the dispersion of nano-TiO2particles in the polymer matrix of the ink increases the dose concentration for pico-jetting, which could be as the gate dielectric film made by inkjet printing without the photography process. Finally, we realized top contact pentacene-TFTs and successfully accomplished the purpose of directly patternability and increase the performance of the device based on the nanocomposite by inkjet printing. These devices exhibited p-channel TFT characteristics with a high field-effect mobility (a saturation mobility of ̃0.58 cm2 V−1 s−1), a large current ratio (>103) and a low operation voltage (<6 V). Furthermore, we accorded the deposited mechanisms which caused the interface difference between of inkjet printing and spin coating. And we used XRD, SEM, Raman spectroscopy to help us analyze the transfer characteristics of pentacene films and the performance of OTFTs.

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Basuki, Cyrilus Uky. "TEKNIK CETAK FOTO CHLOROPHYLL PRINT." REKAM: Jurnal Fotografi, Televisi, dan Animasi 11, no. 2 (March 18, 2016): 69. http://dx.doi.org/10.24821/rekam.v11i2.1294.

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Sejarah mengatakan Thomas Wedgewood memulai kegiatan merekam objek pada sebuah media dua dimensi semenjak tahun 1800-an. Kegiatan merekam ini terus berulang hingga perkembangannya memengaruhi banyak aspek dalam dunia fotografi. Teknologi fotografi era digital memang menawarkan kemudahan dan kenyamanan penggunanya. Proses cetak fotografi pada era digital memungkinkan sebuah foto dicetak di banyak ragam material, seperti kaca, kain, dan kayu. Artinya teknik cetak cukup mengundang daya tarik karena memiliki nilai-nilai visual, seperti bentuk, kontras, dan tekstur. Seniman fotografi berusaha mewujudkan imaji penciptaan karya seninya melalui pertimbangan ide kreatif dan pencapaian estetis. Penggabungan teknikal dengan memanfaatkan pengolahan komputer dan pengolahan analog saat ini cukup diidolakan untuk menampilkan ciri khas seorang fotografer, seperti teknik chlorophyll print yang mengandalkan daun serta proses penyinaran untuk pembentukan image dari proses fotosintesis.Photo Print Technique the Chlorophyll Print. In 1800 Thomas Wedgwood began to capture the object on a two dimensional media with photographic materials. This repetitive activity affects many aspects of photography. As in the era of digital photography offers many facilities, convenience, and comfort for the user. Photo printing process in the digital age allows a photograph printed in a wide variety of materials, such as glass, fabric, and wood. It means printing technique is quite inviting appeal because it has a visual values, such as shape, contrast and texture. Many photographic artists try to create an image by considering the creation of creative ideas and aesthetics. Utilizing computer processing and analog processing is the idea of chlorophyll printing technique to form an image by photosynthesis process.

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Güttler, Stefan, Oliver Refle, Simina Fulga, Andrzej Grzesiak, Christian Seifarth, Volker Stadler, Achim Weber, and Christian Speyerer. "Electro Photography (“Laser Printing”) an Efficient Technology for Biofabrication." NIP & Digital Fabrication Conference 26, no. 1 (January 1, 2010): 567–70. http://dx.doi.org/10.2352/issn.2169-4451.2010.26.1.art00051_2.

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Genet-Verney, Rafaèle, Jessica Castillo-Inostroza, and Rocío Lara-Osuna. "Plastic’s mark: A didactic strategy about ecology based on photography, printing and projections." Visual Inquiry 12, no. 1 (May 1, 2023): 5–19. http://dx.doi.org/10.1386/vi_00084_1.

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The predominance of plastic is without doubt a major problem in today’s society. In order to create environmental awareness, it is necessary to teach critical reflection about its propagation to counteract its ecological consequences. This article proposes a revision of the use of plastic in contemporary art as an aesthetic material and as a creator of social and cultural knowledge in order to question its use in current arts education. An arts-based educational project is presented that hopes to sensitize students in the school of education about the predominance of plastic in today’s society and its mark on the environment. The main objective of this educational proposal is to make students work with plastic from an aesthetic viewpoint and artistically materialize their mark on the world using photography, engraving and projections. Through arts-based educational research, different student productions are analysed to create visual discourses that aesthetically express awareness of plastic’s predominance.

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Tyler, Linda. "Art in the service of agriculture: John Buchanan’s nature printing of ‘The Indigenous Grasses of New Zealand’." Back Story Journal of New Zealand Art, Media & Design History, no. 1 (December 1, 2016): 23–36. http://dx.doi.org/10.24135/backstory.vi1.10.

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To disseminate new knowledge about scientific discoveries in New Zealand in the nineteenth century, draughtsmen were employed to convey the characteristics of a specimen using techniques of lithography, occasionally assisted by photography and microscopy. The Transactions and Proceedings of the New Zealand Institute was an annual publication of scientific papers presented by experts at the various provincial branches throughout the country, and was first published in Wellington in 1868 and issued in 1869.1 Until his retirement from government service in 1885, it was primarily illustrated by John Buchanan (1819-1898). This paper aims to give a broader understanding of Buchanan’s significance for both New Zealand’s science history and its art history by considering his relationship to the emergent techniques of photography and lithography. His isolated use of nature printing for the production of the three volume guide to forage plants, The Indigenous Grasses of New Zealand, is placed in the context of the nineteenth century approach to scientific illustration as evidence.

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Castillo, Richmond M., Grace Y. Kim, Kirk D. Wyatt, Christine M. Lohse, and Thomas R. Hellmich. "Use of an EHR-Integrated Point-of-Care Mobile Medical Photography Application in a Pediatric Emergency Department." Applied Clinical Informatics 10, no. 05 (October 2019): 888–97. http://dx.doi.org/10.1055/s-0039-1700870.

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Abstract Background Mobile applications allow health care providers to capture point-of-care medical photographs and transfer them to the electronic health record (EHR). It is unclear how providers use these photographs or how they affect clinical care. Objectives We aimed to understand the content, purpose, and outcomes of point-of-care medical photography performed in the pediatric emergency department (ED) at large academic medical center. Methods A retrospective chart review was conducted of patients <21 years of age who were seen in the ED and photographed between March 29, 2015 and July 1, 2017 using a secure smartphone application integrated with the EHR. Inter-rater agreement and reliability between the two reviewers was assessed for the first 50 charts, and any discrepancies in interpretation were resolved before proceeding with the remaining data abstraction. The documented rationale for photography, content of photographs, and outcomes were recorded. Results We identified 619 clinical encounters involving photographs of 605 patients who were eligible for inclusion. Skin was photographed in 499 (81%). The most common finding was rash (N = 177; 29%). Photos were of acceptable quality, with 569 (94%) achieving a score between 4 and 5 out of 5. The primary use of photography was documentation (N = 334; 54%), though teleconsultation was noted in 38 (6%). Nearly one-third (N = 187; 30%) of patients were seen in the ED or outpatient clinic for any reason within 2 weeks, and in 25 (13%), clinical notes explicitly referenced the initial photograph(s). In 53 (9%) cases, patients were photographed at a clinical visit in the subsequent 2 weeks, suggesting that photography was used to track changes over time. Conclusion Documentation of findings using mobile point-of-care photography allows for high-fidelity documentation and facilitates continuity of care.

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Yin, Xing, Xiao Xiu Hao, and Cheng Sun. "Study on the Printing Quality Evaluation Parameters of Inkjet PP Synthetic Paper." Applied Mechanics and Materials 469 (November 2013): 372–76. http://dx.doi.org/10.4028/www.scientific.net/amm.469.372.

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IIndoor photo has been widely used in products of shopping malls publicity, light box advertising, wedding photography, posters, engineering and landscape effect picture, digital photo album, art photo, antiquing canvas and window advertising. PP synthetic paper which was the most common indoor photo materials was selected as the research object, and it was printed by the photo printing machine. A series of experiments were carried out according to its printability. The main parameters of PP synthetic paper such as solid density, dot gain and relative contrast were tested, which provided a theoretical and practical basis for digitization of indoor photo.

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Kang, Hoonjong, Dimana Nazarova, Branimir Ivanov, Sunghee Hong, Joo Sup Park, Youngmin Kim, Jiyong Park, Nataliya Berberova, Elena Stoykova, and Nikola Malinowski. "Digital Holographic Printing Methods for 3D Visualization of Cultural Heritage Artifacts." Digital Presentation and Preservation of Cultural and Scientific Heritage 4 (September 30, 2014): 69–78. http://dx.doi.org/10.55630/dipp.2014.4.8.

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Holography enables capture and reconstruction of the optical field scattered from three-dimensional (3D) objects. The hologram encodes both amplitude and phase of the field under coherent illumination, whereas photography records only the amplitude by incoherent light. 3D visualization feature of holography motivates expansion of research efforts dedicated to digital holographic imaging methods as a holographic display or a holographic printer. The paper presents two holographic 3D printing techniques which combine digital 3D representation of an object with analog holographic recording. Generation of digital contents is considered for a holographic stereogram printer and a recently proposed wavefront printer. These imaging methods could be applied to specific artifacts which are difficult to be recorded by conventional analog holography.

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Guk, Alexey A. "Cultural and Aesthetic Dynamics of Photography as a Form of Contemporary Art." Observatory of Culture 21, no. 2 (April 19, 2024): 149–57. http://dx.doi.org/10.25281/2072-3156-2024-21-2-149-157.

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Art-photography is a form of contemporary art that marked itself in the early 1960s. Its historical evolution has not been sufficiently studied. At the same time, it provides an opportunity to identify and understand the logic of the internal development of art-photography and its relationship with the external cultural context. The cultural and aesthetic dynamics of art-photography is associated with three historical stages: early, mature and late postmodernism (meta modernism) and the corresponding forms of contemporary art. The first stage (1960—1970) saw the realization by contemporary artists of the conceptual possibilities of photography. It was mainly the photographic documentation of process-action forms of contemporary art. The same period saw the birth and formation of the main artistic strategies and creative methodologies of art-photography: adherence to documentaries, the use of staging (directing), the introduction of seriality (typology), the combination of word and image. The second stage (1980s — 1990s) of art-photography functioning is characterized by further development and enrichment of established artistic tendencies and the emergence of new practices in which photographic material expands its subject matter and claims the role of a text that problematizes (thematizes) the represented reality. The development of art-photography at the third stage (2000s to the present) is determined by two main factors: the processes of digitalization and oscillation of contemporary culture and art, which leads to the transformation of the “mode of truth” of the photographic image and the strengthening of the importance of the aesthetics of the individual photographic frame. At the level of practice, this is expressed in the creation of photographic pictures where reality and fantasy images merge into a single whole and become indistinguishable. This effect was reinforced by printing photographs of enormous size and exhibiting them in museum spaces and galleries. Nowadays, art-photography, while remaining a form of contemporary art, seeks to go beyond it and acquire signs of aesthetic self-sufficiency.

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Jonge, Ingrid Fischer. "The National Museum of Photography at the Royal Library, Copenhagen." Art Libraries Journal 23, no. 1 (1998): 8–12. http://dx.doi.org/10.1017/s0307472200010750.

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The Royal Library, Copenhagen has made many attempts over the years to organise the huge collection of photographs held in its Department of Maps, Prints and Photographs into a formal museum of photography. Finally in 1996 the Royal Library created such a museum, and named it ‘The National Museum of Photography’. This museum within a library will be located in the new building at the City’s harbour front called The Black Diamond. The displays will show new as well as older photography from the collection, which is important both artistically and historically. Digitisation and cataloguing of the collection are under way, and the first couple of thousand items are already available to a wider public on the Internet.

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Fricker, A., and P. Green. "4th International Conference on: Preservation and Conservation Issues in Digital Printing and Digital Photography." Journal of Physics: Conference Series 231 (April 1, 2010): 011001. http://dx.doi.org/10.1088/1742-6596/231/1/011001.

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Shubhakaran, K., and R. J. Khichar. "Nonmydriatic ocular fundus photography among headache patients in an emergency department." Neurology 81, no. 15 (October 7, 2013): 1366–67. http://dx.doi.org/10.1212/01.wnl.0000436284.64959.67.

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Thulasi, P., C. L. Fraser, V. Biousse, D. W. Wright, N. J. Newman, and B. B. Bruce. "Nonmydriatic ocular fundus photography among headache patients in an emergency department." Neurology 80, no. 5 (January 2, 2013): 432–37. http://dx.doi.org/10.1212/wnl.0b013e31827f0f20.

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Appleton, J., D. Nicholl, B. B. Bruce, V. Biousse, and N. J. Newman. "Nonmydriatic ocular fundus photography among headache patients in an emergency department." Neurology 81, no. 8 (August 19, 2013): 774–75. http://dx.doi.org/10.1212/wnl.0b013e3182a293e1.

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García, Ruben I., Ines Jauregui, Cristina del Amo, Ainhoa Gandiaga, Olivia Rodriguez, Leyre Margallo, Roberto Voces, et al. "Implementation of an In-House 3D Manufacturing Unit in a Public Hospital’s Radiology Department." Healthcare 10, no. 9 (September 16, 2022): 1791. http://dx.doi.org/10.3390/healthcare10091791.

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Objective: Three-dimensional printing has become a leading manufacturing technique in healthcare in recent years. Doubts in published studies regarding the methodological rigor and cost-effectiveness and stricter regulations have stopped the transfer of this technology in many healthcare organizations. The aim of this study was the evaluation and implementation of a 3D printing technology service in a radiology department. Methods: This work describes a methodology to implement a 3D printing service in a radiology department of a Spanish public hospital, considering leadership, training, workflow, clinical integration, quality processes and usability. Results: The results correspond to a 6-year period, during which we performed up to 352 cases, requested by 85 different clinicians. The training, quality control and processes required for the scaled implementation of an in-house 3D printing service are also reported. Conclusions: Despite the maturity of the technology and its impact on the clinic, it is necessary to establish new workflows to correctly implement them into the strategy of the health organization, adjusting it to the needs of clinicians and to their specific resources. Significance: This work allows hospitals to bridge the gap between research and 3D printing, setting up its transfer to clinical practice and using implementation methodology for decision support.

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Weinstock, Peter, Sanjay P. Prabhu, Katie Flynn, Darren B. Orbach, and Edward Smith. "Optimizing cerebrovascular surgical and endovascular procedures in children via personalized 3D printing." Journal of Neurosurgery: Pediatrics 16, no. 5 (November 2015): 584–89. http://dx.doi.org/10.3171/2015.3.peds14677.

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OBJECT Despite the availability of multiplanar imaging, understanding relational 3D anatomy for complex cerebrovascular lesions can be difficult. A 3D printed model allows for instantaneous visualization of lesional anatomy from all perspectives, with the added ability to simulate operative approaches with tactile feedback. The authors report their experience with customized 3D printed models of pediatric cerebrovascular lesions as an educational and clinical tool for patients, trainees, and physicians. METHODS Via an “in-house” 3D print service, magnetic resonance imaging (MRI) and computerized tomography (CT) studies of pediatric patients with arteriovenous malformations (AVMs) were processed with specialized software, and regions of interest were selected by the surgical/endovascular team. Multiple models for each patient were then printed on a 3D printer, with each construct designed to illustrate different aspects of the specific lesion. Intraoperative validation of model fidelity was performed using perioperative imaging, surgical filming, and post hoc analysis of models with intraoperative photography. RESULTS Four cases involving pediatric patients (ages 0–16 years) were studied for initial proof of principle. Three of the patients had AVMs and one had a vein of Galen malformation (VOGM). The VOGM was embolized successfully and the AVMs were resected without complication. In the AVM cases, intraprocedural imaging and photography were performed and verified millimeter-level fidelity of the models (n = 5, 98% concordance, range 94%–100% with average of < 2 mm variation in the largest AVM [6-cm diameter]). The use of 3D models was associated with a 30-minute reduction in operative time (12%) in 2 cases when they were compared with matched controls as a feasibility study. CONCLUSIONS Patient-specific 3D printed models of pediatric cerebrovascular conditions can be constructed with high fidelity. This proof-of-principle series demonstrates, for the first time, confirmation of model accuracy using intraprocedural assessment and potential benefit through shortened operative time.

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