Добірка наукової літератури з теми "Photography – Technological innovations"
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Статті в журналах з теми "Photography – Technological innovations"
Anderson, Fay. "Chasing the Pictures: Press and Magazine Photography." Media International Australia 150, no. 1 (February 2014): 47–55. http://dx.doi.org/10.1177/1329878x1415000112.
Повний текст джерелаMoran, Leslie. "Carte de visite of ‘The Lord Chief Justice of England’ (Sir Alexander James Edmund Cockburn, 12th Baronet) by London Stereoscopic and Photographic Company, circa 1873." Northern Ireland Legal Quarterly 68, no. 3 (November 7, 2017): 245–57. http://dx.doi.org/10.53386/nilq.v68i3.38.
Повний текст джерелаKrasikova, Ksenia V. "TRANSFORMING IDEAS ABOUT PHOTOGRAPHY: SYSTEMATIZING EXISTING APPROACHES." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 100–108. http://dx.doi.org/10.17223/22220836/42/9.
Повний текст джерелаRunde, J., M. Jones, K. Munir, and L. Nikolychuk. "On technological objects and the adoption of technological product innovations: rules, routines and the transition from analogue photography to digital imaging." Cambridge Journal of Economics 33, no. 1 (June 17, 2008): 1–24. http://dx.doi.org/10.1093/cje/ben023.
Повний текст джерелаRyan, Kathleen M. "Vertical video: rupturing the aesthetic paradigm." Visual Communication 17, no. 2 (October 28, 2017): 245–61. http://dx.doi.org/10.1177/1470357217736660.
Повний текст джерелаBlazheva, Sandra. "Tilt Brush. The New Perspective of Art." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 209–23. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_016.
Повний текст джерелаBenner, Mary J. "PROCESS MANAGEMENT AND TECHNOLOGICAL INNOVATION: EVIDENCE FROM THE PHOTOGRAPHY INDUSTRY." Academy of Management Proceedings 2001, no. 1 (August 2001): B1—B6. http://dx.doi.org/10.5465/apbpp.2001.6123147.
Повний текст джерелаCampanario, Milton de Abreu, Èmerson Antônio Maccari, Cibele Barsalini Martins, and Paulo Antonio De Jesus Maffei. "Incremental innovation: fourth color layer technology by Fujifilm." Revista Ibero-Americana de Estratégia 4, no. 1 (December 20, 2007): 63–70. http://dx.doi.org/10.5585/ijsm.v4i1.71.
Повний текст джерелаBenner, Mary J., and Michael Tushman. "Process Management and Technological Innovation: A Longitudinal Study of the Photography and Paint Industries." Administrative Science Quarterly 47, no. 4 (December 2002): 676. http://dx.doi.org/10.2307/3094913.
Повний текст джерелаSCHIAVONE, FRANCESCO. "INNOVATION APPROACHES FOR OLD PRODUCTS REVITALISATION AFTER TECHNOLOGICAL CHANGE: THE RISE OF TECHNOLOGY REVERSE." International Journal of Innovation Management 18, no. 02 (April 2014): 1450011. http://dx.doi.org/10.1142/s136391961450011x.
Повний текст джерелаДисертації з теми "Photography – Technological innovations"
Souza, Fernando Artur de. "A construção cultural da fotografia como discurso na arte contemporânea." Universidade Tecnológica Federal do Paraná, 2013. http://repositorio.utfpr.edu.br/jspui/handle/1/680.
Повний текст джерелаThis work presents a discussion of relations between photography and contemporary art, where the artistic production dialogue with the photography in the family field. the photograph is assumed as a mediating process culturally constructed, taking into account its technological aspects, as well as their social uses, both dimensions considered preponderant for the production of meaning to these images. to establish these relationships through an interdisciplinary perspective, the text seeks to integrate views of areas of knowledge that contributed towards a more complex comprehension of photography in his dialogue with society, with the technology, with the history and the visual arts. finally, we list some works of contemporary artists nan goldin, rosangela rennó and sascha pohflepp that demonstrate these relationships between the visual arts and snapshots of daily family life, either through the photographic image, the materiality of the photograph or the new circuits and new practices coming of digital technologies.
Munir, Kamal A. "Technological evolution and the 'construction' of dominant designs in the imaging industry." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37793.
Повний текст джерелаThis primary aim of this dissertation was the development of a better theoretical understanding of this complex process. Relying primarily on archival data, narratives were constructed around four cases of radical technology shifts in the photographic industry. When woven with existing theoretical insights, these narratives yielded a new perspective on technology dominance. It proposes that contrary to the popular perception that customers eventually adopt technologies that meet their needs 'better,' the success or failure of a new technology is dependent on the extent to which its proponent can build it into the emerging institutional context. This involves opening the design up to embody the interests of key stakeholders as well as structuring the field. At the same time associations and linkages are created between the technology and existing structures. "Enrolling" institutions in this manner stabilizes the nascent technology, reducing its disruptiveness and creating positive externalities around it. How long the design stays dominant depends upon its position in the industry architecture (Christensen, 1997). If it is positioned as an obligatory passage point (Latour, 1987), it is likely to stay dominant for much longer than if it is simply the foremost technological solution to the central problem.
Santos, Luís Carlos dos. "A luz como linguagem na fotografia do cinema. Aspectos de transparência cultural na representação artística da luz." Universidade Tecnológica Federal do Paraná, 2012. http://repositorio.utfpr.edu.br/jspui/handle/1/397.
Повний текст джерелаOur thesis introduces a new approach to the debate on the Representation of Light in Film photography. In addition to the current consensus that posits Film as language, we have strived to demonstrate that above all Light, and the manner in which it is used, is the main foundation of Film photography. Inasmuch as Film is a sociocultural activity, structured by historical, social, cultural, economic and technological forces, but in turn shapes and joins society’s structuring forces, one can infer the dialectics permeating the processes of production, reproduction, reception and diffusion of Light coded in Film. With a view to addressing the debate of Light as language, three guiding axes were established, from which we sought to determine the existing interdependence among representations, actions and the transparency coefficient of film photography which, in relating to one another, provide different degrees of intelligibility and contribute to the realization of the exchange among Film, people and the material nature of the world. In the first part of our thesis, titled Axis X – Referentiality, comprising the first two chapters, Light is approached from two points of view: the first one, from a broader perspective, introduces Light as an indissociable element of human life and of Culture; the second one aims to establish the relationship between the representation of Light in artistic pictures and Film photography. Visual historical references, arising from other art forms, especially painting and theater, form the visual basis, from which a large parte of photographic references and different uses of light in Film originate. Thus it can be said that Light in Film has its predecessors. In the second part, we addressed the so-called Axis Y – Action, developed in the third chapter. With the support of thinkers such as Max Weber, Hannah Arendt, Clifford Geertz, and those from Symbolic Interactionism, the focus of the debate fell upon the new element introduced by action, within the codified models dictated by culture. Action thus updates and brings dynamics to language. In the third and last part of the thesis, called Axis Z – Transparency, encompassing the fourth and fifth chapters, we sought to demonstrate how and why Referentiality and Action, in an articulated manner, influence, from a technical, material, meaning and sign construction standpoint, the representation of Light in Film. The concept of cultural transparency was coined and applied, in an attempt to define this interrelation. From a theoretical and methodological point of view, our thesis subscribes to the interpretative paradigm, which has an qualitative characteristic. In addition to the bibliographical references, and to online texts and articles, we made extensive use of images from different artistic languages, as well as produced photographic, film and video images, which became important sources for analysis within our thesis.
Книги з теми "Photography – Technological innovations"
Ian, Graham. Film and photography. London: Evan Brothers, 2000.
Знайти повний текст джерелаTechnologies of seeing: Photography, cinematography and television. London: British Film Institute, 1996.
Знайти повний текст джерелаMort de la photo de famille?: De l'argentique au numérique. Paris: L'Harmattan, 2010.
Знайти повний текст джерелаWash. 2004) Workshop on Underwater Video Analysis (Seattle. Report of the National Marine Fisheries Service Workshop on Underwater Video Analysis, August 4-6, 2004. Edited by Somerton David, Glendhill C. T, and United States. National Marine Fisheries Service. [Seattle, Wash: U.S. Dept. of Commerce, National Oceanic and Atmospheric Administration, National Marine Fisheries Service, Alaska Fisheries Science Center], 2005.
Знайти повний текст джерелаSuzanne, Séjournant-Mollier, ed. Mémoires d'un inventeur: De la photographie 35 mm au rétroprojecteur, 1876-1962. Paris: L'Harmattan, 2009.
Знайти повний текст джерелаMollier, Etienne. Mémoires d'un inventeur: De la photographie 35 mm au rétroprojecteur, 1876-1962. Paris: L'Harmattan, 2009.
Знайти повний текст джерелаInternational perspectives on business innovation and disruption in the creative industries: Film, video and photography. Cheltenham, UK: Edward Elgar, 2014.
Знайти повний текст джерелаPostdigital aesthetics: Art, computation and design. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.
Знайти повний текст джерелаMuseum of Modern Art (New York, N.Y.), ed. The printed picture. New York: Museum of Modern Art, 2008.
Знайти повний текст джерелаLezano, Daniel. The compact and digital camera handbook: The comprehensive guide to choosing and using the new technology. New York: Three Rivers Press, 1999.
Знайти повний текст джерелаЧастини книг з теми "Photography – Technological innovations"
Krstić, Igor. "Sensational Remediations." In Slums on Screen. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474406864.003.0003.
Повний текст джерелаMathias, Nikita. "Cinema – A Medium of the Sublime?" In Disaster Cinema in Historical Perspective. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720120_ch05.
Повний текст джерелаWilliams, Keith. "‘I Bar the Magic Lantern’: Dubliners and Pre-Filmic Cinematicity." In James Joyce and Cinematicity, 35–105. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474402484.003.0002.
Повний текст джерелаТези доповідей конференцій з теми "Photography – Technological innovations"
Teodosio, Annarita. "The eye of the architect. Le Corbusier and the photograph: demonstrate, learn, remember." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.947.
Повний текст джерелаLasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio, and María Adelaida Gutiérrez Martín. "Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.
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