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1
Hinzler, H. I. R. "The Indonesian Archaeology Photograph and Documentation System (IAPDS)." Art Libraries Journal 18, no. 2 (1993): 34–38. http://dx.doi.org/10.1017/s0307472200008324.
Повний текст джерелаАнотація:
On December 1st 1989 the Indonesian Archaeology Photograph and Documentation System (IAPDS) was launched in Leiden. The project, which is scheduled to last three years, has both a photographic and a documentary aspect. The photographic aspect concerns firstly the conservation of the collection of black and white photographs of the Archaeological Service of the Netherlands-Indies, made between 1901 and 1941, and of the Indonesian Archaeological Survey, dating from 1945 to 1955. This collection consists of more than 25,000 photographs, of which 21,855 are kept in various institutions in Leiden. Secondly, the project envisages making a set of negatives of the complete collection, and of new, large prints which will be used by students and researchers. These will be kept at Leiden University Library. The documentation aspect of the project will involve the creating of a database in which data on the photographs, including information regarding the subjects depicted as well as bibliographic references, will be held. In a later phase it is intended to add other archaeological photographic collections, from elsewhere in the Netherlands and from Southeast Asia.
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Meho Manjgo. "Photographs in the Photo Archive’s Old Stock in Gazi Husrev-beg’s Library in Sarajevo." Anali Gazi Husrev-Begove biblioteke 28, no. 42 (December 31, 2021): 211–33. http://dx.doi.org/10.51719/25663267.2021.28.42.211.
Повний текст джерелаАнотація:
Gazi Husrev-beg’s Library in Sarajevo, beside its rich stock of manuscripts, archival and museum collections, also houses a valuable collection of photographs within the photo archive’s stock, which is divided into the old and the new stock. The focus of this paper is on photographs from the photo archive’s old stock, taken at the time of the arrival of the Austro-Hungarian government, when the first professional photograph stores started up in this area. This paper aims at trying to determine whether the photographs from the photo archive’s old stock were signed by Anton Schadler, Walter Tausch, Ignatz Lederer, Ivica Lisac, Nusret Halačević and other foreign and domestic photographers who made a significant contribution to the development of photography in Bosnia and Herzegovina, or they were taken later in modest photograph stores. Moreover, based on the preserved lists of library materials and other archival materials stored in Gazi Husrev-beg’s Library in Sarajevo, the paper deals with the issue of forming the photo arhive’s stock and the ways to determine the processing, classification and systematization of photographs.
3
Baxter, Guy. "The historical photograph: record, information source, object, resource." Art Libraries Journal 28, no. 2 (2003): 4–12. http://dx.doi.org/10.1017/s0307472200013055.
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This article looks at the contributions that historical photograph collections can make to people’s lives, by examining the ideas that museums, archives and libraries explore and apply in the management of such collections. For instance, the theme of the photograph as an historical record of events will be used to examine the archivist’s approach; the photograph as a source of information for learning or enjoyment will introduce theories developed by the library community; and the value of the photograph as a physical object will form the basis for looking at how museums approach our vast and challenging photographic heritage.
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Abilova, Ramina O., and Tatiana P. Krasheninnikova. "Journey of the USA Citizen Frank Whitson Fetter to the USSR: History of the Foreign Photographic Collection in the Duke University Library (1930)." Herald of an archivist, no. 4 (2020): 1184–200. http://dx.doi.org/10.28995/2073-0101-2020-4-1184-1200.
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The article presents the results of studying the Whitson Fetter (1899-1991) photo collection on Fetter’s visit to the Soviet Union in the summer of 1930. He spent six days in Moscow and six weeks in Kazan, then took a trip down the Volga River and the Caspian Sea. In his journey, Frank W. Fetter took about 330 photographs, which are currently stored in the David M. Rubenstein Rare Book & Manuscript Library, Duke University (Durham, North Carolina, USA). The article reconstructs the origin of the photographic collection (USSR, June-August 1930) and its life in the family archive of Frank W. Fetter (USA, 1930-1991). In 1992, according to his will, the entire archive, including photographs, was transferred to the library of the Duke University. Thus, the attention is focused on the library activities in acquisition, storage, accounting, and usage of Frank W. Fetter’s photographs (1992 - present). In this context, 2008 is of particular importance: it is then that the photographs were scanned and published on the website. The study is based on content and discourse analysis of the photographs; it uses comparative method for studying Frank W. Fetter paper collection at the Duke University library and materials from Russian archives, interviews of participants in the documents transfer to archival storage and photographs digitization. Thus, in a first time case-study of a single photograph collection, the authors trace the route of photographs from their creator to their researchers. Using photographs taken in the USSR, but stored outside Russia, is to supplement the historiography with valuable information on the history of photograph collections and to consider photographic documents on the history of Soviet Russia as an item of storage in foreign archives. The article may be of interest to historians, archivists, museum specialists, curators, and all researchers studying photo documents as objects of storage.
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O'Connor, Maura. "Aerial photograph collections in Australia." Australian Surveyor 37, no. 4 (December 1992): 263–69. http://dx.doi.org/10.1080/00050326.1992.10438813.
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Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies." Anglia 139, no. 1 (March 4, 2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.
Повний текст джерелаАнотація:
Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide the selection of what to photograph. The photographic process thereby becomes part of the process of analysis. Photography by the researcher is therefore limited by subjectivity but it also helps to highlight the role of subjective perspectives in scholarship. It can also balance a breadth or depth of perspective in ways different from institutional digitization. It could in theory foster increased textual scholarship but in practice has fostered attention to the materiality of the text.
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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.
Повний текст джерелаАнотація:
In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
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Pierce, Rachel. "The Female Gaze? Postmodernism and the Search for Women in the Digitized Photographic Collections of Swedish Memory Institutions." Open Information Science 3, no. 1 (January 1, 2019): 61–75. http://dx.doi.org/10.1515/opis-2019-0005.
Повний текст джерелаАнотація:
Abstract Both the photograph and digitization are often defined as democratizing forces. But neither exists outside the system of power dynamics that structure art, history, and cultural heritage. This article uses postmodernist theorization of knowledge hierarchies in the archive developed by archival scholars Terry Cook and Joan Schwartz to examine the gendered nature of metadata and data connected to digitized photographic material available on the platforms of the three major Swedish memory institutions: the Royal Library, the Nordic Museum, and the National Archives. Given that digitized photographs require the addition of machine-readable data and metadata to be findable, this information demonstrates the extent to which digitization staffs have consciously thought about the visibility of gender in their online collections. The research questions of this article are thus twofold: (1) to what extend have Swedish memory institutions embraced a postmodern approach to the archive in their photography digitization projects, and (2) has this approach resulted in the greater visibility of women-oriented material? The findings indicate that Swedish institutions have adopted postmodernist thinking about archival flexibility to varying degrees, but none have thought thoroughly about increasing the visibility of woman-oriented material.
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Chenxi Zhang, Jizhou Gao, Oliver Wang, Pierre Georgel, Ruigang Yang, James Davis, Jan-Michael Frahm, and Marc Pollefeys. "Personal Photograph Enhancement Using Internet Photo Collections." IEEE Transactions on Visualization and Computer Graphics 20, no. 2 (February 2014): 262–75. http://dx.doi.org/10.1109/tvcg.2013.77.
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Dooley, Jackie M. "Processing and Cataloging of Archival Photograph Collections." Visual Resources 11, no. 1 (January 1995): 85–101. http://dx.doi.org/10.1080/01973762.1995.9658320.
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Braker, Emily M. "Phototank setup and focus stack imaging method for reptile and amphibian specimens (Amphibia, Reptilia)." ZooKeys 1134 (December 9, 2022): 185–210. http://dx.doi.org/10.3897/zookeys.1134.96103.
Повний текст джерелаАнотація:
Fluid-preserved reptile and amphibian specimens are challenging to photograph with traditional methods due to their complex three-dimensional forms and reflective surfaces when removed from solution. An effective approach to counteract these issues involves combining focus stack photography with the use of a photo immersion tank. Imaging specimens beneath a layer of preservative fluid eliminates glare and risk of specimen desiccation, while focus stacking produces sharp detail through merging multiple photographs taken at successive focal steps to create a composite image with an extended depth of field. This paper describes the wet imaging components and focus stack photography workflow developed while conducting a large-scale digitization project for targeted reptile and amphibian specimens housed in the University of Colorado Museum of Natural History Herpetology Collection. This methodology can be implemented in other collections settings and adapted for use with fluid-preserved specimen types across the Tree of Life to generate high-quality, taxonomically informative images for use in documenting biodiversity, remote examination of fine traits, inclusion in publications, and educational applications.
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Kondo, Dorinne. "Turning Leaves: The Photograph Collections of Two Japanese American Families:Turning Leaves: The Photograph Collections of Two Japanese American Families." Visual Anthropology Review 8, no. 2 (September 1992): 101–2. http://dx.doi.org/10.1525/var.1992.8.2.101.
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Kempf, Alois. "Von Waldbildern und Bildern zum Wald | On forestry photography and historical images of forests." Schweizerische Zeitschrift fur Forstwesen 155, no. 8 (August 1, 2004): 345–48. http://dx.doi.org/10.3188/szf.2004.0345.
Повний текст джерелаАнотація:
The Swiss Federal Institute for Forest, Snow and Landscape Research WSL, holds several historical collections of images related to forestry and forests in Switzerland. A majority of the photographs, negatives and slides in the collections are stored on glass plates. The archives also contain some paper copies and special thematic sub-collections on cardboard. This contribution describes various aspects of forest images dating from the first half of the 20th century. A photograph of a wood pasture taken by Hermann Knuchel (1884–1964) near the village Sufers, Canton Grisons, in June 1913 serves as a starting point.
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Manoli, Vasiliki, and Ioannis Triantafyllou. "Personal photograph collections ontology development through thematic tags." Journal of Integrated Information Management 3, no. 1 (July 18, 2018): 30–37. http://dx.doi.org/10.18780/jiim.v3i1.4275.
Повний текст джерелаАнотація:
Purpose- The number and the variety of photos have grown to a great extent as they can be created anytime, everywhere and spontaneously. Searching for a particular photo file has become a boring, repetitive and tedious activity. The application of an ontology to express the user profile characteristics relation with the narrative, spatial, time and other types of information of the collected photos becomes imperative.Design/methodology/approach -The work presented in our article includes the development of a personal photograph collections ontology (MyOntoPhotos) specialising in documenting the metadata of the topics that end-users prefer mostly to capture with their devices. An extensive survey, among 650 participants, was conducted with the use of an online questionnaire comprised of semi-closed questions, following the Likert scale and the scale category grading.Findings -The ontology created was based on the results of an extensive survey aiming to identify thematic areas of interest, apart from spatial and temporal information, as other similar efforts did in the past. It is mentionable that the survey results proved the majority of the responders selected 22 thematic tags.Originality/value - Based on the research findings an innovative concept for a mobile application is presented, focusing on enhancing end-users photo collections organizing and retrieval functions.
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Belton, Tom. "Resurrecting Images from the Morgue: A Case Study of the London Free Press Collection of Photographic Negatives." Collections: A Journal for Museum and Archives Professionals 16, no. 4 (December 2020): 381–92. http://dx.doi.org/10.1177/1550190620964073.
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This paper is a case study of the ongoing transformation of the London Free Press Collection of Photographic Negatives from a physical archive to a digital one. This Collection is a typical medium-sized newspaper photographic negative morgue dating between 1938 and 1992. These morgues possess enormous value as visual evidence of the development of communities, and society in general. The London Free Press serves a market of around a million people in Southwestern Ontario, Canada. The Collection’s current custodian, the University of Western Ontario Archives and Special Collections, is in the process of transforming it from a purely physical entity to a digital resource of great research potential. To place the case study in a broader context, the author reviews some of the recent literature on the topic of newspaper photograph morgues. He then delves into a detailed description of the custodial history of the Collection as well as details about current collection management issues, including metadata and digitization. The author concludes that the digitized body of tens of thousands of unique images will be more than enough to satisfy many visual researchers and could form part of a North American digital photojournalism archive of immense historical value.
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Kanicki, Witold. "Wundercamera Obscura." Cabinet, Vol. 2, no. 2 (2017): 70–73. http://dx.doi.org/10.47659/m3.070.art.
Повний текст джерелаАнотація:
Archives abounding in collections of nineteenth-century photographs contain numerous examples of works dealing with the subject of bodily anomalies. Information about such pictures being taken used to be published on a regular basis in daily press, in which the readership were notified about photo ateliers which immortalised a variety of “monstrosities”. Although it would seem that such pictures were taken solely for scientific purposes, the many and varied contexts of their use let us link them to a much older tradition of viewing and collecting visual curiosities. Having the above facts in mind, this article confronts the popular habits of photographing peculiarities in the 19th century, with museum practice and the Wunderkammers tradition. The space of a photograph may substitute exhibition space, while a desire to watch all kinds of abnormalities and the culture of curiosity determines the connection between former museum visitors and recipients of photographs. Keywords: 19ct museum, collecting, curios, photographic archive, wundecamera
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Margolis, Eric. "Representations of Race, Gender and Ability in School Photography." education policy analysis archives 8 (July 4, 2000): 31. http://dx.doi.org/10.14507/epaa.v8n31.2000.
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This article examines photographs taken of American public school classes between the 1880's and the 1940's. Most of the images were found in two virtual archives: The American Memory site at the Library of Congress and The National Archives and Record Center. These very large photograph collections were searched for representations of race, gender, and physical ability. The photographs were compared and contrasted and analyzed for elements of hidden curricula using techniques drawn from the social sciences and humanities. It was found that these large photo collections have significant gaps and historical amnesias. Collections made under conditions of racial segregation are themselves segregated and continue to reproduce images of hierarchy and dominance. To the extent these sites function as important resources for teachers and students searching for primary source documents for history and social studies projects, the archives convey significantly biased views of the history of education and minority groups in America.
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Soto Sepúlveda, Maximiliano, and Diego Artigas San Carlos. "The represented image of a gift: The case of the Taltal flake stones." Revista de Antropología Visual 4, no. 31 (November 23, 2023): 1–22. http://dx.doi.org/10.47725/rav.031.11.
Повний текст джерелаАнотація:
Archaeological objects are often accompanied by recording units that constitute a corpus of information contained in museums and archives, but also in publications. These scientific writings deal with archaeological objects and collections through images that generally do not give the reader the possibility to physically interact with the photographed or drawn piece. In this context, we have chosen a picture of three flaked stones that appeared for the first time in a publication by Aureliano Oyarzun in 1917, on the discussion about the ‘paleolithic station’ of Taltal. The chosen photograph was subjected to an indexing method that led us to the deposit of the National Historical Museum, Chile, in order to find the indicated pieces. This finding questions us about the meaning of the image and the object portrayed, and, at the same time, questions us about the representational dynamics contained in the photographic image.
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Bate, Jason. "Bonds of Kinship and Care: RAMC Photographic Albums and the Making of ‘Other’ Domestic Lives." Social History of Medicine 33, no. 3 (December 24, 2018): 772–97. http://dx.doi.org/10.1093/shm/hky120.
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Abstract This article critically interrogates the nature of facial wounds themselves, their visceral, dehumanising quality, visibility, and social meaning. Little attention has been paid to the cultural ramifications and difficult questions concerning the futures of facially injured soldiers that Britain had to address in the post-war era. Focusing on photograph albums as socially salient objects, this article challenges medical photographic archives. Building on unexplored family archives, it revises understandings of the difficulties of veterans' homecoming, and how they achieved a level of emotional recovery as they tried to find a place in the post-war social fabric. The article argues that family photographic collections show the less obvious way that the war lived on for veterans and families, its damage and how it was passed on. These private collections offer new revelations on the success or failure of the surgical interventions in their aesthetic aims.
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Godfrey, Jenny. "The DACS Slide Collection Licensing Scheme." Art Libraries Journal 26, no. 4 (2001): 10–17. http://dx.doi.org/10.1017/s030747220001244x.
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For many years slide libraries in higher education institutions in the UK grew steadily in size as they accommodated the needs of new and expanding art and design courses. Although some slide librarians acquired new slides by photographing works of art in museums and art galleries, and most bought slides of the traditional art history canon from commercial publishers and art galleries, the largest proportion of these ever growing slide collections was made up of slides produced by copy photography, using slide film to photograph images taken from books, journals and exhibition catalogues. Changes in UK copyright law in 1988 made this illegal and jeopardised the ability of lecturers to present the visual material they needed for their courses. Slide librarians were forced to consider ways of getting around the law. A licence scheme ultimately emerged as the answer, but one that has its detractors and critics.
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Chbib, Raida, and Julius Matuschik. "Mosque Archives of the 1950s in Focus." Journal of Muslims in Europe 11, no. 3 (November 29, 2022): 397–418. http://dx.doi.org/10.1163/22117954-bja10073.
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Abstract This contribution aims at illuminating Muslim community life in the 1950s in Germany with the help of photographs. In 2020, probing into a research field that until then was largely terra incognita, the photojournalist Julius Matuschik with the support of a sociologist of religion, Raida Chbib, contacted mosques they knew had been built in the 1960s and wrote to 100 city archives in search of photographic and other evidence. In this way, photograph collections and paper records of religious gatherings and activities of Muslims in Berlin, Munich, Aachen, Hamburg, Frankfurt and Schwetzingen (Mannheim) were identified and brought into communication with one another. Offering unique visual insights in each of these places, this article shows that Muslim religious infrastructures were established long before the arrival of the so-called guest workers and that Muslim religious life in the 1950s was broader than has hitherto been suggested. Moreover, a blind spot was revealed when gathering detailed information about a congregation in the 1950s in the architecturally remarkable mosque building in the garden of the Schwetzingen Palace.
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Rodríguez, Juanita. "Picturing the Peasant in Orlando Fals Borda’s Work 1950s-1970s." Master, Vol. 5, no. 2 (2020): 60–69. http://dx.doi.org/10.47659/m9.060.art.
Повний текст джерелаАнотація:
Orlando Fals Borda, a renowned Colombian sociologist, who worked for both the academia and the government from the 1950s to 90s, wrote two works on Colombian peasantry and its relation with big landowners that were published with a selection of photographs of peasants, landowners, and grassroots movements. These works and their images have had an impact on the construction of peasant- and landowner visual icons in recent Colombian history, as they have been used in books, primers, and exhibitions since their creation, and they had a crucial influence on the visual propaganda of the Agrarian Reform project in Colombia. As a result of Fals’s fieldwork, there are two photograph collections kept at two institutions in Colombia that have organized and catalogued the images: The Central Bank in Montería and the National University in Bogotá. These institutions are prime creators of the visual memory of rural Colombia and I analyze Fals’s fieldwork as part of a jigsaw puzzle in which peasants, landowners, and intellectuals, like Fals, both consumed and created visual icons of land, rurality, and peasantry in Colombia’s recent history. Keywords: Agrarian Reform, Colombia, landowners, Orlando Fals Borda, peasants, photography.
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Chancellor, Gordon. "Lost & Found: 156. A well-travelled plesiosaur femur." Geological Curator 4, no. 6 (July 1986): 344. http://dx.doi.org/10.55468/gc264.
Повний текст джерелаАнотація:
Gordon Chancellor (City Museum and Art Gallery, Priestgate, Peterborough PEl ILF) writes: *0n flicking through Geol. Curator 4(4) my eye caught the photograph of the *well travelled plesiosaur femur* - the reason being that only days before I had been wondering what had become of a Muraenosaurus humerus, missing from the Peterborough collections (catalogue no. R91). Could the *Australian* femur be connected with our humerus I wondered? I immediately wrote to Robert Jones and told him about R91, and he kindly returned a long reply, enclosing better photographs of the *Australian* bone, and confirming that it was a femur picked up by an Australian tourist at Loch Ness. It now turns out that the bone was misplaced by...
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НИКИТИНА, А. К., and С. В. НИКИФОРОВА. "The story of one photo (experience of visual anthropological analysis)." Vestnik of North-Eastern Federal University. Series "Economics. Sociology. Culturology", no. 1(17) (November 19, 2020): 29–40. http://dx.doi.org/10.25587/svfu.2020.17.1.002.
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Рассмотрена проблема документальности на материале фотографического снимка неизвестной, датированного 1914 г. Предложен анализ события фотографирования, имевшего место в Сунтарском улусе Вилюйского округа, выполненного в историко-культурном контексте. В рамках комплексного подхода использованы визуально-антропологический анализ, опрос, интервью и др. методы. В ходе анализа контента фотоисточника мы опирались на классификацию, предложенную специалистом Музея антропологии и этнографии Российской академии наук Е. Б. Толмачевой. Реконструирована легенда фотографического снимка. Проведена идентификация фотографических портретов, установлены связи между реальностью и изображенным. Определена региональная специфика культурной ситуации в части мастера изготовления хомуса и мастера игры на нем. Введены в научный оборот полевые материалы автора: список известных хомусистов Вилюйского округа; обработаны данные семейных архивов, местных мифов и преданий локальных сообществ. Информантами в ходе исследования выступили старожилы села Тойбохой Сунтарского улуса: М. К. Уарова, Т. Ф. Пермякова, сотрудники Тойбохойского историко-краеведческого комплекса А. В. Евсеев, М. И. Васильева и др., а также материалы Национального архива Республики Саха (Якутия), запасников Музея хомуса народов мира (Якутск). Частично прослежена динамика становления и локализации исполнительской традиции игры на хомусе, сегодня признаваемой в качестве канонической для якутской культуры в целом. Одновременно с этим отмечен параллельный процесс утраты стилей. Реконструированы обстоятельства события фотографирования, рассмотрены связи: реальность – изображенное – видимое. Определена личность девушки на снимке 1914 г. и историко-культурная ценность указанной фотографии. The problem of documenting on the material of a photograph of an unknown woman dated 1914 is considered. An analysis of the photographing event that took place in Suntarsky Region of the Vilyui District, made in the historical and cultural context, is proposed. As part of an integrated approach, visual anthropological analysis, a survey, interviews and other methods were used. When analyzing the content of the photo source, we relied on the classification proposed by E. B. Tolmacheva: the photographs of museum collections are divided into three groups: scientific ethnographic photography; scientific photography of the humanities; photo with an ethnographic plot. The legend of a photograph was reconstructed. Identification of photographic portraits, links between reality and the image are established. The regional specificity of the cultural situation has been determined in part: the masters of making khomus and the masters of playing it. The author’s field materials were introduced into scientific circulation: a list of famous khomus players of Suntar area; family archives data, local myths and traditions of local communities were processed. The informants and assistants in organizing the study were old-timers of the village of Toybokhoy of Suntarsky Region M.K. Uarov, T.F. Permyakova, A.V. Evseev, M.I. Vasilieva and others. The materials of the National Archives of the Sakha Republic (Yakutia), G. E. Bessonov Toybokhoy historical and local lore complex, storerooms of the Museum of the Trump of the World’s Peoples (Yakutsk) were studied. We partially traced the dynamics of the formation and localization of the performing tradition of playing the khomus, recognized as canonical for the Yakut culture as a whole; moreover, we marked the process of losing styles. The historical and cultural value of a photograph is determined.
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Late, Elina, Hille Ruotsalainen, and Sanna Kumpulainen. "In a Perfect World: Exploring the Desires and Realities for Digitized Historical Image Archives." Proceedings of the Association for Information Science and Technology 60, no. 1 (October 2023): 244–54. http://dx.doi.org/10.1002/pra2.785.
Повний текст джерелаАнотація:
ABSTRACTThe primary goal of this paper is to explore users' desires for digitized historical image collections, examining their desires based on different use purposes and information interaction activities. In addition, we investigate the image attributes that users wish to search from the collection. To accomplish this, we conducted 21 qualitative interviews with active users of a digitized historical photograph archive. Our findings suggest that users' desires relate to three contexts: tools, collection, and socio‐organizational issues. Moreover, our results indicate that users require support for various information interaction activities, not just searching. We found that users' desires vary based on their specific use purposes, and that users prioritize conceptual access points that can already mostly be generated through automated annotation methods. Ultimately, this study contributes to a better understanding of users' real‐life image needs and offers implications for improving access to digital image collections.
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GONZÁLEZ-GALLEGOS, JESÚS GUADALUPE, and BRENDA Y. BEDOLLA-GARCÍA. "Rediscovery of Salvia dugesiana (Lamiaceae) in Guanajuato, Mexico, after 129 years." Phytotaxa 629, no. 1 (December 4, 2023): 1–12. http://dx.doi.org/10.11646/phytotaxa.629.1.1.
Повний текст джерелаАнотація:
A wild population of Salvia dugesiana is recorded for the first time after 129 years since the last collections made of the species. It was known only in base to two different gatherings with imprecise localities by Alfred A. D. Dugès in 1880 and 1894. The taxon was detected by a photograph published in an online website for citizen science, iNaturalist. The population was found in southern Guanajuato, in tropical deciduous forest. The species is akin to S. karwinskii (sect. Holwaya). A lectotype was designated, and a detailed description, photographs and distribution map are presented. Additionally, an identification key to Mexican Salvia species with red or orangish corollas is provided, which helps to contrast S. dugesiana against the rest of Mexican species with these colors in their corollas.
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Bilson, Tom. "The Courtauld’s Witt and Conway Photographic Libraries: Two approaches to digitisation." Art Libraries Journal 45, no. 1 (January 2020): 35–42. http://dx.doi.org/10.1017/alj.2019.38.
Повний текст джерелаАнотація:
The Courtauld Institute of Art is two years into a digitisation project of the Witt and Conway photograph archives (in addition to other, smaller collections) – a massive project that will make accessible over three million images of works of art from these internationally important photo collections. This article looks closely at the digitisation project and in particular, at the small army of volunteers assembled to carry out the digitisation and how this element of public engagement is essential to the success of the project.
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Semenova, Valeria. "Ethiopian Photo Collections 1896-1913: Some Aspects of Arrangement, Attribution and Interpretation." African Research & Documentation 135 (2019): 71–85. http://dx.doi.org/10.1017/s0305862x00023906.
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Peter the Great Museum of Anthropology and Ethnography/Muzei antropologii i etnografii im. Petra Velikogo RAN (Kunstkamera) includes a few photograph collections dedicated to Ethiopia. Amongst them, a considerable quantity refers to the period of-1896-1913 characterised by the active work of the Russian diplomatic mission. This cluster of visual material has not been interpreted in a proper manner. This article is an attempt to arrange this material so as to make it suitable for further research. With this purpose, the inventory numbers of the photos are given to assist searching on the official website. The survey is based on the analysis of inventories of the Museum's collection mentioned in the text.
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ROSA, AUGUSTO HENRIQUE BATISTA, LAURA BRAGA, RICARDO RUSSO SIEWERT, GUSTAVO RODRIGUES MAGNAGO, and ANDRÉ VICTOR LUCCI FREITAS. "Distribution expansion of Petrocerus catiena (Hewitson, 875) (Lepidoptera: Riodinidae) and description of the previously unknown female." Journal of Insect Biodiversity 44, no. 1 (December 22, 2023): 14–20. http://dx.doi.org/10.12976/jib/2023.44.1.2.
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Petrocerus catiena is a rarely observed Riodinidae butterfly, known from a few specimens from two locations in Serra do Mar (Atlantic Forest) in the Brazilian state of Rio de Janeiro. This species was listed as “Endangered” in the Brazilian Red List due to its small area of occupation and isolated populations under strong anthropogenic pressure. Based on scientific collections and citizen science data, the present study provides information about new geographic records of P. catiena and its perspectives on conservation. A total of 19 specimens of P. catiena were found in six public / private collections, as well as six photograph records of live specimens from citizen science reports. A recent photograph from a locality in the state of Espírito Santo (southeastern Brazil) resulted in an increase in both the extent of occurrence and the area of occupation estimates of P. catiena, implying a possible change in its conservation status. Besides providing new geographical information for a little-known species, the present study also highlights the importance of citizen science in contributing to the knowledge of threatened species and their conservation assessments.
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Buriak, Larysa, and Wiktoria Kudela-Świątek. "Decoding the Images of the Polish Countryside, by Louise Arner Boyd (1887-1972)." Krakowskie Pismo Kresowe 15 (December 16, 2023): 97–126. http://dx.doi.org/10.12797/kpk.15.2023.15.07.
Повний текст джерелаАнотація:
This article looks at the photographic legacy of Louise Arner Boyd’s (1887-1972) expedition through the Second Polish Republic in the context of her discovery of the otherness and social diversity of the country she visited in 1934. The authors were particularly captivated by the portrayal of the Ruthenians/Ukrainians of what is now Western Ukraine, as depicted in the Boyd photography. The authors focus lies on the unprocessed photographic content from the library collections of the University of Wisconsin-Milwaukee and the book she published a few years after her journey with the cooperation of the American Geographical Society in New York. The authors told the story of Louise A. Boyd’s trip to Poland primarily to introduce the reader to the context of the creation of the photographic collection, in which authors try to discover content and meanings that have not been sought before. Their analysis of the making-off process and reception into academia for Boyd’s book entitled Polish Countryside is also crucial to understanding that it is only a part of the collection. It is a specific vision and a compromise between the photographer’s and the publisher’s expectations. The Boyd photographic collection focused on rural landscapes and the architecture of villages and farms, capturing various farming methods, road and water transport scenes, village types and traditional clothing. With meticulous descriptions and detailed lists of the photographed locations and subjects, the collection serves as valuable documentation of building styles and techniques, traditional costumes, transportation, markets and agricultural and fishing practices. Thanks to Boyd’s skilled photographer’s eye, she was able to capture visually attractive photographs that also serve as scientifically intriguing documents of a bygone era. The significance of these photos extends beyond the confines of ethnography, as we have endeavoured to emphasise in this article. Through reinterpreting Ruthenians/ Ukrainians portraits in Boyd photographs after almost a century, we aim to grasp the preserved and concealed contexts, thereby reconstructing, if not the complete image, at least its distinct components. However, the images of contemporary Western Ukraine and its inhabitants by Louise Arner Boyd that the authors analysed are currently in the photography collection mentioned above from the UWM as part of the digitalised archive of the American Geographical Society. The authors had attempted to look at them both as an example of ethnographic photography typical of the interwar period and a unique image of a world that no longer exists. In the authors’ opinion, Louise A. Boyd’s photograms, placed as raw ethnographic material in the mentioned repository of the UWM library, today have the value that she wanted to give them from the beginning when she was considering the publication of Polish Countrysides, and they are a reminder of a world whose traces have almost disappeared today.
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Piekielek, Nathan. "A semi-automated workflow for processing historic aerial photography." Abstracts of the ICA 1 (July 15, 2019): 1. http://dx.doi.org/10.5194/ica-abs-1-299-2019.
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<p><strong>Abstract.</strong> Libraries, museums and archives were the original big geospatial information repositories that to this day house thousands to millions of resources containing research-quality geographic information. However, these print resources (and their digital surrogates), are not easily incorporated into the contemporary research process because they are not structured data that is required of web-mapping and geographic information system tools. Fortunately, contemporary big data tools and methods can help with the large-scale conversion of historic resources into structured datasets for mapping and spatial analysis.</p><p>Single frame historic aerial photographs captured originally on film (hereafter “photographs”), are some of the most ubiquitous and information-rich geographic information resources housed in libraries, museums and archives. Photographs authentically encoded information about past places and time-periods without the thematic focus and cartographic generalization of historic print maps. As such, they contain important information in nearly every category of base mapping (i.e. transportation networks, populated places etc.), that is useful to a broad spectrum of research projects and other applications. Photographs are also some of the most frustrating historic resources to use due to their very large map-scale (i.e. small geographic area), lack of reference information and often unknown metadata (i.e. index map, flight altitude, direction etc.).</p><p>The capture of aerial photographs in the contiguous United States (U.S.) became common in the 1920s and was formalized in government programs to systematically photograph the nation at regular time intervals beginning in the 1930s. Many of these photography programs continued until the 1990s meaning that there are approximately 70 years of “data” available for the U.S. that is currently underutilized due to inaccessibility and the challenges of converting photographs to structured data. Large collections of photographs include government (e.g. the U.S. Department of Agriculture Aerial Photography Field Office “The Vault” – over 10 million photographs), educational (e.g. the University of California Santa Barbara Library – approximately 2.5 million photographs), and an unknown number non-governmental organizations (e.g. numerous regional planning commissions and watershed conservation groups). Collectively these photography resources constitute an untapped big geospatial data resource.</p><p>U.S. government photography programs such as the National Agricultural Imagery Program continued and expanded in the digital age (i.e. post early 2000s), so that not only is there opportunity to extend spatial analyses back in time, but also to create seamless datasets that integrate with current and expected future government aerial photography campaigns. What is more, satellite imagery sensors have improved to the point that there is now overlap between satellite imagery and aerial photography in terms of many of their technical specifications (i.e. spatial resolution etc.). The remote capture of land surface imagery is expanding rapidly and with it are new opportunities to explore long-term land-change analyses that require historical datasets.</p><p>Manual methods to process photographs are well-known, but are too labour intensive to apply to entire photography collections. Academic research on methods to increase the discoverability of photographs and convert them to geospatial data at large-scale has to date been limited (although see the work of W. Karel et al.). This presentation details a semi-automated workflow to process historic aerial photographs from U.S. government sources and compares the workflow and results to existing methods and datasets. In a pilot test area of 94 photographs in the U.S. state of Pennsylvania, the workflow was found to be nearly 100-times more efficient than commonly employed alternatives while achieving greater horizontal positional accuracy. Results compared favourably to contemporary digital aerial photography data products, suggesting that they are well-suited for integration with contemporary datasets. Finally, initial results of the workflow were incorporated into several existing online discovery and sharing platforms that will be highlighted in this presentation. Early online usage statistics as well as direct interaction with users demonstrates the broad interest and high-impact of photographs and their derived products (i.e. structured geospatial data).</p>
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Mifflin, Jeffrey. ""The Story They Tell": On Archives and the Latent Voices in Documentary Photograph Collections." American Archivist 73, no. 1 (May 2010): 250–62. http://dx.doi.org/10.17723/aarc.73.1.f0m334052804uh1h.
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Gilmore, Jennifer, Annie Polland, Suzanne Wasserman, and Judith Rosenbaum. "From the Collections of the American Jewish Historical Society: Photograph of a Kosher Delicatessen." American Jewish History 98, no. 2 (2014): 65–70. http://dx.doi.org/10.1353/ajh.2014.0021.
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Šejbl, Jan. "Čína ve třech rozměrech. Nejstarší fotografie z Číny ve sbírce stereoskopů Náprstkova muzea v Praze." Muzeum Muzejní a vlastivedná práce 60, no. 1 (2022): 14–27. http://dx.doi.org/10.37520/mmvp.2022.003.
Повний текст джерелаАнотація:
The study deals with the representation of photographs from China in the Náprstek Museum’s stereoscope collection. A brief summary of the historical development of the Náprstek Museum’s photographic collections and the phenomenon of stereoscopic photography in the 19th century is followed by the results of a survey itself. The images were categorised by an authorship and analysed both technically and thematically. It turned out that the stereoscope collection contains the oldest photographs of China, which can be dated to the turn of the 1850’s and 1860’s.
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Hatano, Hiroyuki. "Photographic collections in Japan: accessibility and new technology." Art Libraries Journal 14, no. 4 (1989): 7–10. http://dx.doi.org/10.1017/s0307472200006453.
Повний текст джерелаАнотація:
Photographic collections are relatively undeveloped in Japan, although in the last decade a national photographic museum has been established, and other museums have opened departments of photography. Problems of access to collections of photographs of works of art have impeded the study of art history, but the capacity of new technologies to store, and to facilitate the retrieval of, visual images, is beginning to transform the situation.
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Larsson, Marianne. "Images of Leisure and Outdoor Activities in the 1930s: A Mixed Archive Sources Methodology." Culture Unbound 12, no. 1 (May 26, 2020): 90–115. http://dx.doi.org/10.3384/cu.2000.1525.2020v12a06.
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In Sweden, leisure time and outdoor activities were important parts of the 1930s welfare society. The aim of this study is to examine the usefulness of some different source categories in the Nordic Museum’s collections and to complement representations of 1930s ideals about health, leisure time and outdoor activities. The article is written within the scope of the Nordic Museum and Stockholm University research project Images and Stories of Everyday Life. With digitising as an overall purpose, the project focuses on two categories of source material in the museum collections—the responses to the museum’s questionnaires and the photograph archive of the Swedish photographer Gunnar Lundh. Methodologically, around 400 questionnaire responses and 2,000 contact sheets have been looked at, with the aim of finding relevant representations of people’s leisure time and outdoor life in the 1930s. A selected number of questionnaires are analysed, and regarding the photographs, four series are analysed and represented by a selected number of photos. Series of photos on Gunnar Lundh’s contact sheets are essential, as they add knowledge beyond the individual photo. The combination of sources used in the article supports that holidays and outdoor life were part of urban people’s lives, while for rural people it was not easily combined with living conditions in agriculture. These results are reflected in the museum’s source material as well as in official government reports, earlier studies and historical sources. Although there is quite a large difference between the source categories, this study shows that the museum material, including evaluation of sources, makes it possible to broaden the image of Swedish people’s outdoor activities in the 1930s. The bricolage research method indicates that combinations of sources enlarge the image of different groups’ relationships to outdoor life.
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Drossart, Pierre, Françoise Roques, Cyril Birnbaum, René Boyer, and Eliane Neyvoz. "Base de Données d’Images Planétaires (BDIP): One Century of Planetary Images: 1870-1977." Highlights of Astronomy 12 (2002): 646. http://dx.doi.org/10.1017/s1539299600014519.
Повний текст джерелаАнотація:
The digitization of the planetary database of IAU has been performed, to give access to historical data in digital format. The database is constituted from the planetary photograph center collections, which was organized in 1961 at the request of the IAU (IAU conferences; Last reference: 1979, IAU Trans., XVIIA, 109). From this collection, 8473 images have been digitalized and are now accessible on line in a compressed format at the Web address: http://bdipwww.obspm.fr. The catalog information, including date and time of observations, and geometric configuration is completed for Jupiter and Saturn. The database contains plates recorded between 1870 and 1977:Jupiter: 2715 imagesSaturn: 357 imagesMars: 4661 imagesVenus: 835 imagesMercury: 105 images
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Board, Editorial. "Allows Librarians at each Institution to take Custody of and Preserve Access to the E-Content." Global Journal of Enterprise Information System 9, no. 2 (June 28, 2017): 133. http://dx.doi.org/10.18311/gjeis/2017/16180.
Повний текст джерелаАнотація:
The LOCKSS («Lots of Copies Keep Stuff Safe») project, under the auspices of Stanford University, is a peer-to-peer network that develops and supports an open source system allowing libraries to collect, preserve and provide their readers with access to material published on the Web. The system attempts to replicate the way libraries do this for material published on paper. It was originally designed for scholarly journals<sup>1</sup>, but is now also used for a range of other materials. Examples include the SOLINET project to preserve theses and dissertations at eight universities, US government documents<sup>3</sup>, and the MetaArchive Cooperative program preserving at-risk digital archival collections, including Electronic Theses and Dissertations (ETDs), newspapers, photograph collections, and audio-visual collections
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DE ALMEIDA, RAFAEL FELIPE, and CLIMBIÊ FERREIRA HALL. "Taxonomic Revision of Coleostachys (Malpighiaceae)." Phytotaxa 277, no. 1 (September 23, 2016): 77. http://dx.doi.org/10.11646/phytotaxa.277.1.7.
Повний текст джерелаАнотація:
Coleostachys is a monospecific genus of Neotropical Malpighiaceae, known in the literature from only two collections. After a thorough analysis of Brazilian and International herbaria, we present a taxonomic revision of Coleostachys. This work includes a complete morphological description of the genus and its single species, C. genipifolia, along with line drawings and photograph plates, a distribution map, and comments on taxonomy, ecology and conservation of this obscure Amazonian genus.
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Chen, Po-Yen, and Pei-Jeng Kuo. "Archiving of Personal Digital Photograph Collections with a MPEG-7 Based Geotag Related Annotation Methodology." Archiving Conference 9, no. 1 (January 1, 2012): 107–10. http://dx.doi.org/10.2352/issn.2168-3204.2012.9.1.art00025.
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Ferenc, Tomasz. "Praca, robotnicy, archiwa, fotografia — utrwalanie stereotypów i walka o emancypację". Kultura i Społeczeństwo 59, № 3 (11 серпня 2015): 203–21. http://dx.doi.org/10.35757/kis.2015.59.3.10.
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Work, workers, and workers’ living conditions quickly became a field of interest for photographers. Already by the middle of the 19th century there were photographs showing working people. Nevertheless, the contexts in which such photographs were taken varied considerably. The first part of this article presents, in the historical perspective, the different causes and strategies involved in making these types of documents, up to the moment when photographs began to appear that had been made by workers themselves. The movement to photograph workers, which developed in the first decades of the 20th century, is recalled in the second part of the article (using the examples of the Weimar Republic and Soviet Russia). The third part is devoted to photographic projects whose purpose was to increase the productivity of, and control over, workers. Photography is presented as a scientific tool for measuring movement and as an illustration of the most effective manners of organizing work. At the end, the Digital Repository of Worker Photography is described, as an example of work on a collection of photos and the creation of a platform permitting further work, but also as a legal and methodological problem.
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Vogelsang, Helena. "A Nostalgic Longing for the 20th Century: Past and Present Backdrops and Scenes in the Skylight Studio of Josip Pelikan." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 56–61. http://dx.doi.org/10.47659/m5.056.art.
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Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabled the portrayed person to be presented in a way that suited him or her best; e.g. raising their social status, being placed in a specific environment or in a different position than the person occupied in real life. This surely influenced the popularity of portraits made in the wet collodion technique by contemporary photographer Borut Peterlin. In this way, the photographer revitalised the importance of Pelikan’s backgrounds and renewed the interest in old analogue photography techniques as well as a comprehensive studio portrait experience, which today no longer holds a prominent place among photographic practices. Keywords: 20th century photograhy, background, Josip Pelikan, photographic backdrop, portraiture, skylight studio, Slovenian photography, studio photography
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Abilova, Ramina O., and Yana Yu Kirillova. "Photographic Heritage of the Kazan Pharmacist Arnold Brening: History and Composition of the Collection (1904–37)." Herald of an archivist, no. 3 (2023): 861–75. http://dx.doi.org/10.28995/2073-0101-2023-3-861-875.
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The article presents results of studying photographic heritage of the Kazan pharmacist Arnold Brening (1879–37). Its first part examines his biography drawing on documents from the State Archive of the Republic of Tatarstan and on private archive of his granddaughter Tatyana Brening. Close attention is paid to the professional development of A. Brening, from his apprenticeship at the Brening Heirs Pharmacy to obtaining a pharmacist's degree at the Imperial Kazan University, from tenant to owner of the pharmacy at the corner of Bolshaya Prolomnaya (Bauman street, since 1930) and Universitetskaya. In the same part, the history of formation and development of his photographic practices is revealed. Brening’s passion for photography began during his military service in Harbin in 1904–06. Having returned to Kazan, he continued taking photographs. He subscribed to photographic literature, experimented with retouching and technologies, bought new equipment. Brening regularly cultivated his skills during his walks with camera, “photographic excursions.” He took pictures of architecture, street scenes, town events. After his marriage, his photographic repertoire expanded to portraits of his wife. Brening not only showed his photographic results to a close circle of friends, he sent them to photographic journals and exhibitions in Moscow. After the Russian Revolution, his family lived in Siberia about three years. Upon his return, Brening continued to work in the field of pharmaceuticals and to take photographs of the city and its suburban area. In the 1930s, he worked at Osoaviakhim and later at the Institute of Chemical Technology. In 1937 he was arrested and shot. Among incriminating evidence was his photograph taken in 1917. The second part of the article presents the history of Brening’s photographic heritage. It establishes current location of its disparate parts: at the National Museum of the Republic of Tatarstan, the State Museum of Fine Arts of the Republic of Tatarstan, the Zelenodolsk Museum of Historical and Cultural Heritage, personal archives of citizens; and briefly demonstrates some items. Until late 1980s, Brening’s photographs remained forgotten. They were preserved thanks to the efforts of his wife, children, and granddaughter, and actualized in active work of local historians, journalists, museum specialists in the 1990s–2000s. This article is one of the first steps in scientific understanding of Brening’s photographic heritage.
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Kim, Jae Sung. "The application of near-automated georeferencing technique to a strip of historic aerial photographs in GIS." Library Hi Tech 36, no. 1 (March 19, 2018): 43–56. http://dx.doi.org/10.1108/lht-10-2016-0115.
Повний текст джерелаАнотація:
Purpose The purpose of this paper is to describe the procedure for near-automation of the most commonly used manual georeferencing technique in a desktop GIS environment for historic aerial photographs strip in library archives. Design/methodology/approach Most of the archived historic aerial photography consists of series of aerial photographs that overlap to some extent, as the optimal overlap ratio is known as 60 percent by photogrammetric standard. Therefore, conjugate points can be detected for the overlapping area. The first image was georeferenced manually by six-parameter affine transformation using 2013 National Agriculture Imagery Program images as ground truths. Then, conjugate points were detected in the first and second images using Speeded Up Robust Features and Random Sample Consensus. The ground space coordinates of conjugate points were estimated using the first image’s six parameters. Then the second image’s six parameters were calculated using conjugate points’ ground space coordinates and pixel coordinates in the second image. This procedure was repeated until the last image was georeferenced. However, error accumulated as the number of photographs increased. Therefore, another six-parameter affine transformation was implemented using control points in the first, middle, and last images. Finally, the images were warped using open source GIS tools. Findings The result shows that historic aerial strip collections can be georeferenced with far less time and labor using the technique proposed compared with the traditional manual georeferencing technique in a desktop GIS environment. Research limitations/implications The suggested approach will promote the usage of historic aerial photographs for various scientific purposes including land use and land cover change detection, soil erosion pattern recognition, agricultural practices change analysis, environmental improvement assessment, and natural habitat change detection. Practical implications Most commonly used georeferencing procedures for historic aerial photographs in academic libraries require significant time and effort for manual measurement of conjugate points in the object images and the ground truth images. By maximizing the automation of georeferencing procedures, the suggested approach will save significant time and effort of library workforce. Social implications With the suggested approach, large numbers of historic aerial photographs can be rapidly georeferenced. This will allow libraries to provide more geospatial data to scientific communities. Originality/value This is a unique approach to rapid georeferencing of historic aerial photograph strips.
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Salu, Luc. "A library and a bibliography to cope with the torrent of pictures? A glimpse into the Antwerp FotoMuseum." Art Libraries Journal 33, no. 3 (2008): 25–29. http://dx.doi.org/10.1017/s0307472200015443.
Повний текст джерелаАнотація:
Between 1965 and 1985, the library of the FotoMuseum Provincie Antwerpen acquired three large collections: that of the library of the Association Belge de Photographie, the collection of magazines from Fritz L. Gruber and the company library of the photographic firm Agfa-Gevaert. The bibliographic activities associated with the history of photography were started in 1978 at the European Society for the History of Photography and resulted in a four-part History of photography: a bibliography of books, published 1989 to 1999. The FotoMuseum Provincie Antwerpen produced an augmented version of this bibliography on CD-ROM in 2003.
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Simmons, Becky. "A GUIDE TO THE PREVENTIVE CONSERVATION OF PHOTOGRAPH COLLECTIONS. Bertrand Lavédrine , Jean-Paul Gandolfo , Sibylle Monod." Art Documentation: Journal of the Art Libraries Society of North America 23, no. 1 (April 2004): 54. http://dx.doi.org/10.1086/adx.23.1.27949302.
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Fry, Eileen. "CONSERVATION PRACTICES FOR SLIDE AND PHOTOGRAPH COLLECTIONS. (VRA Special Bulletin No. 3, 1989). Christine L. Sundt." Art Documentation: Journal of the Art Libraries Society of North America 9, no. 2 (July 1990): 109. http://dx.doi.org/10.1086/adx.9.2.27948213.
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Kuo, Pei-Jeng, Po-Yu Cheng, Wei-Chen Su, and Sheng-Chih Chen. "Continuous Archiving of Group Digital Photograph Collections with a MPEG-7 Based Crowd Sourcing Annotation Methodology." Archiving Conference 8, no. 1 (January 1, 2011): 144–49. http://dx.doi.org/10.2352/issn.2168-3204.2011.8.1.art00033.
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O’Brien, Aoife. "Pacific photographs from the Vanadis expedition, 1883–85." Journal of New Zealand & Pacific Studies 8, no. 1 (May 1, 2020): 7–21. http://dx.doi.org/10.1386/nzps_00012_1.
Повний текст джерелаАнотація:
The Vanadis expedition was a Swedish–Norwegian scientific and trade mission that circumnavigated the globe between 1883 and 1885. The scientific aspect of the expedition focused on the collection of objects, archaeological excavations and the documentation of the peoples, places and material culture encountered on the voyage. Responsible for much of this collecting and documentation was ethnographer Hjalmar Stolpe, as well as photographer Oscar Birger Ekholm. An estimated 7500 objects from the Vanadis expedition today form part of Etnografiska museet (The Museum of Ethnography) collections in Stockholm, over 900 of which came from the Pacific. These were acquired/purchased from Indigenous and western residents in all places the ship stopped including the Society Islands, Marquesas Islands, the Tuamotu Archipelago, Hawaiian Islands and Marshall Islands. Of the roughly 700 photographs taken during the voyage, just over 200 were taken in the Pacific. Ekholm’s photographic record from the Pacific includes studies of people and portraits, land and seascapes, archaeological sites, dwellings and marine transportation. Providing an overview of Ekholm’s photographs from the Vanadis expedition, this article seeks to contextualize his photography, situating it within the wider context of collecting with which he and Stolpe were concerned. It will further consider the racial stereotypes, interest in practices such as tattooing and overall aims of the expedition that prompted this photographic documentation.
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Vonog, E. A. "ON THE PHOTOGRAPH COLLECTIONS TAKEN BY AMERICAN MILITARY OF THE POLAR BEAR EXPEDITION ON THE NORTH OF RUSSIA DATED TO THE CIVIL WAR PERIOD 1918–1919." Northern Archives and Expeditions 5, no. 3 (September 30, 2021): 26–37. http://dx.doi.org/10.31806/2542-1158-2021-5-3-26-37.
Повний текст джерелаАнотація:
Nowadays visual history and its significance characterized by a broad interdisciplinary approach cannot be overestimated. Since 1991 when the Austrian historian and researcher of images Gerhard Jagschitz (1940–2018) first used the term «visual history», photographs and, perhaps, film documents began to be perceived by the scientific world not only as illustrative material, but also as a storehouse of new, but somewhere forgotten information, for example, concerning the appearance of settlements and people living there, everyday life and imperatives of human behaviour, as well as events in certain historical periods. In this article the author presents the data concerning the American military that gathered collections of photographs from the Polar Bear Expedition of the period 1918–1919. During the First World War, this expedition was undertaken by the United States to the territory of the European part of the North of Russia in order to prevent the German Empire from encroaching on the resources of Russia, taking advantage of its weakness as a result of the political crisis. This military mission, carried out jointly with other allied states, in the history of Russia will be called a foreign military intervention, which, unfortunately, became a catalyst for a bloody civil confrontation. In the course of the study, not only the names of the founders were revealed, but also the modern holders of photo collections located in the United States, providing almost free access to all of them. Particular attention is paid to such an important component of attribution of photographic documents as the identification of the American photographers personalities involved in the creation of the visual image of the Civil War in the North of Russia.