Thematische Bibliographien / Professional photography

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Auswahl der wissenschaftlichen Literatur zum Thema „Professional photography“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 14. Februar 2022

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Zeitschriftenartikel zum Thema "Professional photography"

Wyatt, Kirk D., Anissa Finley, Richard Uribe, Peter Pallagi, Brian Willaert, Steve Ommen, James Yiannias und Thomas Hellmich. „Patients' Experiences and Attitudes of Using a Secure Mobile Phone App for Medical Photography: Qualitative Survey Study“. Journal of Medical Internet Research 22, Nr. 5 (12.05.2020): e14412. http://dx.doi.org/10.2196/14412.

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Background Point-of-care clinical photography using mobile devices is coming of age as a new standard of care for clinical documentation. High-quality cameras in modern smartphones facilitate faithful reproduction of clinical findings in photographs; however, clinical photographs captured on mobile devices are often taken using the native camera app on the device and transmitted using relatively insecure methods (eg, SMS text message and email) that do not preserve images as part of the electronic medical records. Native camera apps lack robust security features and direct integration with electronic health records (EHRs), which may limit patient acceptability and usefulness to clinicians. In March 2015, Mayo Clinic overcame these barriers by launching an internally developed mobile app that allows health care providers to securely capture clinical photographs and upload them to the EHR in a manner that is compliant with patient privacy and confidentiality regulations. Objective The study aimed to understand the perceptions, attitudes, and experiences of patients who were photographed using a mobile point-of-care clinical image capture app. Methods The study included a mail-out survey sent to 292 patients in Rochester, Minnesota, who were photographed using a mobile point-of-care clinical image capture app within a preceding 2-week period. Results The surveys were completed by 71 patients who recalled being photographed. Patients were seen in 18 different departments, with the most common departments being dermatology (19/71, 27%), vascular medicine (17/71, 24%), and family medicine (10/71, 14%). Most patients (49/62, 79%) reported that photographs were taken to simply document the appearance of a clinical finding for future reference. Only 16% (10/62) of patients said the photographs were used to obtain advice from a specialist. Furthermore, 74% (51/69) of the patients said they would recommend medical photography to others and 67% (46/69) of them thought the photos favorably affected their care. Patients were largely indifferent about the device used for photography (mobile device vs professional camera; 40/69, 58%) or the identity of the photographer (provider vs professional photographer; 52/69, 75%). In addition, 90% (64/71) of patients found reuse of photographs for one-on-one learner education to be acceptable. Acceptability for other uses declined as the size of the audience increased, with only 42% (30/71) of patients deeming reuse on social media for medical education as appropriate. Only 3% (2/71) of patients expressed privacy or confidentiality concerns. Furthermore, 52% (33/63) of patients preferred to provide consent verbally, and 21% (13/63) of them did not think a specific consent process was necessary. Conclusions Patient attitudes regarding medical photography using a secure EHR-integrated app were favorable. Patients perceived that photography improved their care despite the most common reason for photography being to simply document the appearance of a clinical finding for future reference. Whenever possible, health care providers should utilize secure EHR-integrated apps for point-of-care medical photography using mobile devices.

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Al Balushi, Amal A. „The Ethics and Legality of Using Personal Smartphones to take Medical Photographs“. Sultan Qaboos University Medical Journal [SQUMJ] 19, Nr. 2 (08.09.2019): 99. http://dx.doi.org/10.18295/squmj.2019.19.02.003.

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ABSTRACT: Photography in the medical profession is an asset that may help during patients’ follow-up, monitoring the progression of diseases, getting a second opinion and in medical educational activities. Advances in technology, specifically smartphones, have enabled medical professionals to obtain high-quality photographs with minimal effort and photography experience. This article discusses the ethics and legality of using personal smartphones in a medical professional setting for medical photography. Written informed consent should always be obtained from the patient and should include details about how the photographs will be used.Keywords: Photography; Smartphone; Informed Consent; Ethics; Medical Legislation; Publications; Medical Education; Oman.

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Kazakevych, Gennadii. „Memory Factories: Professional Photography in Kyiv, 1850-1918“. Text and Image: Essential Problems in Art History, Nr. 1 (2020): 82–101. http://dx.doi.org/10.17721/2519-4801.2020.1.06.

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The article deals with the early history of photographic industry in Kyiv as a complex cultural phenomenon. Special attention is focused on the portrait photography as a ‘technology of memory’. It involves methods of social history of art, prosopography and visual anthropology. The study is based on the wide scope of archival documents, including the correspondence of publishing facilities inspector, who supervised the photographic activity in Kyiv from 1888 to 1909. By the early 20th century, making, collecting, displaying and exchanging the photographic portraits became an important memorial practice for townspeople throughout the world. In the pre-WWI Kyiv dozens of ateliers produced photographic portraits in large quantities. While the urbanization and economic growth boosted migration activity and washed out traditional family and neighborhood networks, the photography provided an instrument for maintaining emotional connections between people. The author emphasizes the role of a professional photographer who acted as a maker of ‘memory artifacts’ for individuals and families and, therefore, established aesthetic standards for their private visual archives. It is stated that the professional photography played a noticeable role in modernization and westernization of Kyiv. With its relatively low barrier to entry, it provided a professionalization opportunity for women, representatives of the lower social classes or discriminated ethnic groups (such as Poles after the January Insurrection, and Jews). While working in a competitive environment, photographers had to adopt new technologies, improve business processes and increase their own educational level. At the same time, their artistic freedom was rather limited. The style of photographic portrait was inherited from the Eighteen and Nineteen-century academic art, so it is usually hard to distinguish photographic portraits made in Kyiv or in any other European city of that period. Body language of models, their clothing and personal adornments as well as studio decorations and accessories aimed to construct the image of successful individuals, faithful friends, closely tied family members with their own strictly defined social roles etc. The old-fashioned style of the early twentieth century portraiture shaped the visual aesthetics of photographic portrait that was noticeable enough even several decades later.

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Clark, Catherine E. „The Commercial Street Photographer: The Right to the Street and the Droit à l’Image in Post-1945 France“. Journal of Visual Culture 16, Nr. 2 (August 2017): 225–52. http://dx.doi.org/10.1177/1470412917716482.

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This article examines the history of the commercial street photographer, or photofilmeur, in France from 1945 to 1955. Although itinerant photographers had long operated, they organized as a new profession after the Second World War in response to hostile reactions from other ‘sedentary’ photographers, conservative officials, lawmakers, and the police. Tracing the fight to regulate and even ban photofilmeurs in state and police archives, courtroom accounts, and union publications, this article reveals a struggle over the who, what, and where of photography: Who has the right to photograph whom? Can you take pictures of people without their consent? What is professional photography? Answers to these questions recast the history of street photography not as an aesthetic category, as most scholarship treats it, but in terms of the medium’s engagement with the law and issues of consent, intent, copyright, privacy, and dissemination that are at the heart of 20th and 21st-century photographic history.

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Meron, Yaron. „Photographic (In)authenticity“. Video Journal of Education and Pedagogy 4, Nr. 2 (27.12.2019): 60–81. http://dx.doi.org/10.1163/23644583-00401018.

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Debates around authenticity within photographic discourse are persistent. Some have revolved around documentary photography, while other discussions focus on the ethical validity of digitally edited news photographs and indeed the photographic medium itself. This article proposes that discussions around ‘authenticity’ should be focused instead towards contextualising photography more appropriately within the creative practice of ‘making strange’. It acknowledges existing debates around photography and authenticity, before locating the discussion within creative practice. It then moves to a discussion, using Robert Capa’s ‘Falling Soldier’ (Capa, 1936) as a starting point, before drawing on examples from the author’s own creative and professional practice. In the process, the article argues that visual researchers embrace the challenges of making the familiar strange within photographic creative practices.

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Bordeniuk, Serhii, und Viktoriia Byshovets. „Psychological Aspects of Social Photography“. Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, Nr. 1 (30.06.2021): 78–83. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235089.

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The purpose of the research is to analyze the main features of social photography in the psychological aspect of the photographer. The research methodology is based on the application of a system-integrated approach to the review of this problem, within the framework of which a whole range of cultural, philosophical, psychological and professional qualities that affect viewers when viewing photographs is considered. The scientific novelty lies in the analysis of modern typological features and characteristics of social photography. The opinions of scientists from different times on issues of the psychological aspects of social photography were also systematized and generalized. Conclusions. We have analyzed the components of the psychological aspect of social photography. With the help of the analysis, the value of psychology in the work of the photographer specializing in the field of social photography has been established. Structural components that form a psychological aspect in the photo have been developed in detail. The factors that influence the rating of social photography have been summarized. The importance of the psychological aspects of social photography has been determined, since during the work at the same time the process of becoming the author himself, and his main task is to not just capture the environment but through his work to express feelings, emotions and thoughts.

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Ramirez, Faustine D., Jori F. Bogetz, Megan Kufeld und Lynn M. Yee. „Professional Bereavement Photography in the Setting of Perinatal Loss: A Qualitative Analysis“. Global Pediatric Health 6 (Januar 2019): 2333794X1985494. http://dx.doi.org/10.1177/2333794x19854941.

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Perinatal loss, including fetal and infant death, is a devastating experience for parents, resulting in long-term adverse physical and psychosocial outcomes. However, little is known about what services might best support grieving parents. We aimed to understand the role of professional bereavement photography in assisting the grieving process of parents who have lost a fetus or infant, by examining the perspectives of bereaved parents, professional photographers, and health care professionals. Twenty semistructured interviews were conducted, and interview transcripts were analyzed using modified grounded theory. Twenty-three individuals participated, including 6 bereaved parents, 8 photographers, and 9 health care professionals. Analyses generated 5 major themes describing ways in which the photographs were valuable to parents: validation of the experience, permission to share, creation of a permanent and tangible legacy, creation of positive memories, and moving forward after the loss. Hospitals should consider incorporation of professional bereavement photography services into palliative care and bereavement programs.

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Mortensen, Tara M., und Peter J. Gade. „Does Photojournalism Matter? News Image Content and Presentation in the Middletown (NY) Times Herald-Record Before and After Layoffs of the Photojournalism Staff“. Journalism & Mass Communication Quarterly 95, Nr. 4 (16.03.2018): 990–1010. http://dx.doi.org/10.1177/1077699018760771.

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This study explored the photojournalism and news presentation of the Middletown (NY) Times Herald-Record before and after the newspaper laid off its entire photography staff. Differences between professional and non-professional photographs were compared. Following the layoff, the paper published fewer images, and presented less prominently. Professional images captured significantly more elements of photojournalism than non-professionals, including emotion, action, conflict, and graphic appeal. Professional images were presented larger and more prominently. Results of this case study provide evidence that—despite clear differences in image content—photojournalists are struggling to assert their professional legitimacy in the digital age.

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Khramtsov, Andrey I., Ruslan A. Nasyrov und Galina F. Khramtsova. „Training of pathologists in the digital macroscopic photography“. Pediatrician (St. Petersburg) 11, Nr. 4 (08.12.2020): 85–90. http://dx.doi.org/10.17816/ped11485-90.

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The pathology practice environment varies per healthcare setting. However, anatomic pathology is a visual applied science discipline and incorporation of high-quality images into a surgical pathology report is essential. Each specimen received for morphological examination is unique and variation in the description can exist between prosectors and they experience. Thatiswhy gross descriptions supported with digital photographs can eliminate the insufficiency of macroscopic examination. To form and strengthen pathologists competencies in digital macroscopic photography a problem-based learning approach is used for training. A problem-based learning ensures the strength of the acquired knowledge since it is obtained in an independent activity. The article discusses what type of problems a pathologist should solve when taking a macroscopic photograph of a surgical specimen. An analysis of literature on modern equipment for digital macroscopic photography was performed. Recommendations for step-by-step photographing, and schematic mapping for surgical specimen triaging are provided. An option is proposed for actively developing professional competencies including creation of digital photo archives of surgical gross specimens, as well as study sections and discussions by professionals at forums such as society meetings. It was concluded that pathologists competency in digital macroscopic photography is necessary to maintain a high standard of medical care.

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Lehmuskallio, Asko, Jukka Hӓkkinen und Janne Seppӓnen. „Photorealistic computer-generated images are difficult to distinguish from digital photographs: a case study with professional photographers and photo-editors“. Visual Communication 18, Nr. 4 (04.03.2018): 427–51. http://dx.doi.org/10.1177/1470357218759809.

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There are strict guidelines on photoediting in newsrooms and serious professional repercussions for any failure to adhere to them, while computer-generated imagery is increasingly used in other areas of visual communication. This article presents empirical research on the ability of professional photographers and editors to distinguish photographs from photorealistic computer-generated images by looking at them on a screen. The results show clearly that those studied ( N = 20) are unable to distinguish one from another, suggesting that it is increasingly difficult to make this distinction, particularly since most viewers are not as experienced in photography as those studied. Interestingly, the participants continue to share a conventional understanding of photography that is not in line with current developments in digital photography and digital image rendering. Based on their findings, the authors suggest there is a need for developing a particular visual literacy that understands the computational in digital photography and grounds the use of digital photography among particular communities of practice. When seeing photographs on screens, journals, exhibitions, or newspapers, viewers might actually be looking at computer-generated simulations, and vice versa.

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Dissertationen zum Thema "Professional photography"

Deacon, Henry Christopher. „The perspective of Cape Town professional photographers on issues of integrity in the documentary photograph“. Thesis, Cape Peninsula University of Technology, 2013. http://hdl.handle.net/20.500.11838/1312.

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Thesis submitted in fulfillment of the requirements for the degree Magister of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology 2013
This study investigates the perspective of Capetonian professional photographers on issues of integrity, regarding the impact of digital imaging technology. Key objectives are to establish how the concept of photographic integrity manifests itself throughout the history of the documentary genre, prior and subsequent to the introduction of digital imaging technology; to ascertain the extent to which the Capetonian professional photographer uses digital imaging technology compared to film technology; to discover how Capetonian professional photographers perceive various concepts related to integrity in a documentary photograph; to identify what Capetonian professional photographers regard as acceptable digital editing to the photojournalistic documentary photograph; to ascertain whether Capetonian professional photographers believe that digital imaging technology impacted on the integrity of the documentary photograph; and finally, to discern whether Capetonian professional photographers who have practiced professional photojournalism see the need for a national regulating body, which clearly makes known what acceptable picture taking (in terms of content, e.g. staging of a photograph) and digital editing entails, for the South African photojournalist. The rationale for this study is that we exist in an era where we are faced with a digital revolution which transforms perceptions of integrity and it is essential to ascertain how technology influences the perceptions of the very professionals who produce documentary photography images. The literature review evolves a context for this study. This empirical study’s data collection and analyses has a mixed-method design. The survey’s instrument of data collection is a questionnaire, which captured quantitative data and with half of one question captures qualitative data. I analysed quantitative data with the help of SPSS and I analysed qualitative data much akin to a case study. The statistical test used to analyse quantitative data is a chi-square test and there are 66 participants in the study. I found that a breach of integrity, for instance manipulation, was always possible in the era prior to the introduction of digital imaging technology. Now it is only done faster, more thorough and more people have access to editing technology. Many who lack moral fiber are tempted now, more than ever, to illicitly manipulate. Capetonian professional photographer’s experience in digital image creation and editing technology outweighs the equivalent in the film medium. Digital camera usage takes precedence over film cameras. An example of a perception of a concept related to integrity in documentary photography is the sub-group which has practiced professional photojournalism insisted (73.5% of them strongly agreed) that it is possible to be creative and truthful at the same time in documentary photography. With regard to what acceptable editing entails, for cropping respondents favoured slight cropping; for dodging and burning in respondents favoured very light dodging and burning in; for pasting in respondents favoured no pasting in is acceptable; and for removing of objects respondents favoured no removing of objects. The Capetonian professional photographer believes that digital imaging technology has impacted on the integrity of the documentary photograph. For instance, the study has measured and proved that a majority of Capetonian professional photographers believe that a documentary essay taken in film and processed in the traditional darkroom feels more consistently trustworthy than its digital equivalent. This study has shown that there is a need for a body that clearly makes known what acceptable picture taking and digital editing entails for the professional photojournalistic photographer in South Africa.

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Below, Jelka Ninja. „Photojournalism in War and Armed Conflicts : Professional Photography and the Framing of Victimhood in World Press Photos of the Year“. Thesis, Uppsala universitet, Medier och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-131548.

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During the last decades, the presence of visual media has increased dramatically. However, very little empirical research has been carried out to determine the implication of the medium photograph as a visual information transmitter. The aim of this study was therefore to investigate the characteristics of professional press photos that relate to war and armed conflicts and to examine the framing of victimhood. A thorough literature review as well as an iconographic interpretation of World Press Photos serves to ascertain data in order to permit answering the research questions. The World Press Photo Foundation is the subject of research as it represents the most prestigious international competition for press photography at present and thus acts as an agenda-setter. That highlights the implication of its decisions about professional photographs since its coverage of certain issues biases the international media coverage of the same. It also affects the development of professional photojournalism. In this context the meaning of photographs in today’s visual media societies can be discussed.

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Leblanc, Charlotte. „Louis Emile Durandelle (1839-1917), un photographe au service de l'architecture“. Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP003/document.

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Dans la seconde moitié du XIXe siècle, l’amélioration des techniques photographiques offre de nouveaux outils aux architectes et au monde de la construction ou de la restauration d’édifices. Certains photographes se spécialisent alors dans la photographie d’architecture et de chantier et développent ce marché nouveau. Dans ce contexte, Louis Emile Durandelle, actif à Paris entre 1860 et 1890, illustre cette adaptation de certains photographes à la demande des architectes dont l’utilisation des images d’architecture est alors en transition entre l’héritage du siècle précédent où les gravures étaient essentiellement diffusées dans des publications spécialisées et des pratiques nouvelles de diffusions plus larges des photographies d’architecture. La représentation architecturale connaît alors elle-même une transition importante, bouleversée notamment par la rapidité d’exécution des photographies. Ayant réalisé plus de dix mille photographies de reproductions d’objets d’art et d’architecture et un nombre difficile à évaluer de portraits-cartes, Durandelle joue par l’abondance de sa production et sa présence sur des chantiers parisiens majeurs un rôle important dans l’évolution des usages de la photographie par le monde de la construction. On lui doit un important corpus photographique fournissant de précieuses informations au sujet des travaux de l’Opéra Garnier, du Sacré-Cœur de Montmartre, du Mont-Saint-Michel, du Comptoir d’Escompte de la ville de Paris, de la gare Saint-Lazare, de l’Hôtel-Dieu de Paris, de la Tour Eiffel, du Palais du Louvre ou encore du musée des Beaux-Arts d’Amiens. L’étude retrace sa biographie, son activité de photographe de chantier, d’édifices achevés et de décors monumentaux, depuis sa réalisation des clichés jusqu’à leurs usages variés faits par ses commanditaires. Elle replace l’activité du photographe parmi celles de ses pairs, à une époque où le métier de photographe d’architecture nécessite une importante maîtrise technique notamment pour lutter contre la parallaxe et les distorsions de la perspective. Elle analyse la manière dont certains architectes, certaines administrations ou certains entrepreneurs du bâtiment ont fait usage des clichés de Durandelle pour servir leurs intérêts économiques et professionnels aussi bien lors de la conception architecturale qu’au cours du chantier de construction ou pour promouvoir leur réalisation une fois l’édifice achevé
In the second half of the 19th century, the improvement of photographic techniques offers new tools to architects and the world of construction or restoration of buildings. Some photographers then specialize in architecture and construction photography and develop this new market. In this context, Louis Emile Durandelle, active in Paris between 1860 and 1890, illustrates this adaptation of some photographers at the request of architects whose use of architectural images is then in transition between the legacy of the previous century when the engravings were mainly disseminated in specialized publications and new practices of wider dissemination of architectural photographs. The architectural representation itself underwent an important transition, shattered notably by the speed of execution of the photographs. Having produced more than ten thousand photographs of reproductions of works of art and architecture and a number difficult to evaluate portraits-cards, Durandelle plays by the abundance of its production and its presence on major parisian sites an important role in the evolution of the uses of photography by the world of construction. He took many photographs providing valuable information about the works of the Opéra Garnier, the Sacré-Cœur of Montmartre, the Mont-Saint-Michel, the Comptoir d'Escompte of Paris, Lazare, the Hôtel-Dieu of Paris, the Eiffel Tower, the Louvre palace and the Amiens Museum of Fine Arts. Our study presents his biography, his activity as a photographer of construction sites, finished buildings and monumental decorations, from his realization of the photographs to their varied uses made by his customers. It places the photographer's activity amongst his peers, at a time when the profession of photographer of architecture requires an important technical knowledge in particular to avoid parallax and the distortions of the perspective. Our study analyzes the way in which architects, administrations or building contractors have used Durandelle's photographs to serve their economic and professional interests both during the architectural design and during the construction or to promote their realization once the building is completed

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Contreras-Gama, Rosana. „Comprendre les dispositifs photo-humanitaires : être journaliste dans l’humanitaire, faire de l’humanitaire avec des photographies“. Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0271/document.

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Les coopérations de plus en plus proches et fréquentes entretenues par des photojournalistes et des ONG humanitaires soulèvent des réactions diverses. En même temps que l’on célèbre les bénéficies du témoignage photojournalistique pour faire avancer des causes humanitaires, on soupçonne les photojournalistes de perte d’indépendance ou de brader leur profession. L’objectif de la recherche est de comprendre les conditions de ce rapprochement, dans un contexte de critique et d’incertitude. À partir de l’analyse de 17 entretiens auprès de photographes et du personnel de l’humanitaire, et de documents liés aux expositions photo-humanitaires, nous avons exploré l’hypothèse selon laquelle, pour construire ensemble, les acteurs de ces deux mondes doivent se mettre d’accord sur la base de valeurs communes. L’objectif des acteurs est de sauvegarder la cohérence de chaque monde et de pouvoir argumenter leurs choix d’une manière qui puisse être considérée comme acceptable face aux critiques. Notre approche consiste à restituer les contraintes matérielles et discursives auxquelles font face ces professionnels quand ils coopèrent ensemble. Nous montrons comment le photographe est reconnu pour son attachement à des causes sociales, pour son engagement sur le long terme et pour les risques qu’il entreprend, devenant ainsi un personnage du récit humanitaire. En effet, les ONG humanitaires proposent la création d’espaces qui contribuent à la légitimation du photojournalisme comme profession spécifique. De manière paradoxale, en légitimant ce photojournalisme, le risque est rendre flous les contours de la profession, en lui accordant un sens nouveau, en dehors de la presse
The increasing, close and regular cooperation between humanitarian NGO and photojournalists raises diverse reactions. As some people will extol the virtues of photojournalistic testimony to promote humanitarian causes, other will make claims of photographs having relative little independence or making a negative impact on their own professional group's economy. The purpose of our research is to understand the conditions that make possible this cooperation in a context of criticism and uncertainty. The hypothesis is that in order to build on and move forward, actors involved in the cooperation have to agree on the basis of common values. Their purpose is to protect the coherence of their world and to support their choices with arguments that can be considered as acceptable. We base our analysis on the content of 17 interviews to both photographers and humanitarian workers, as well as of documents related to photo-humanitarian exhibitions. Our approach, comprehensive and axiological, allows us to highlight the material and discursive constraints that these professionals face when they create together. Our study shows that photographers are recognized for their engagement to social causes, for their long-term commitment and for the risks they undertake, becoming eventually characters of the humanitarian narrative. Indeed, NGO workers make considerable efforts to create spaces that contribute to the legitimization of photojournalism as a specialized profession. The paradox is that, by legitimizing this kind of photojournalism, this regular cooperation to make unclear the outlines of the profession, redefining this practice in a way that doesn’t include the press

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Oliveira, Renata Ghisleni de. „Assistência-assessoria jurídica universitária e direitos da mulher : (trans)formações possíveis“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/25864.

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Este estudo analisa a formação profissional na assistência e assessoria jurídica universitária que trabalha com direitos da mulher. A análise do estudo toma a experiência forjada pelo Grupo 8 - Generalizando (G8G) do Serviço de Assessoria Jurídica Universitária da Faculdade de Direito da Universidade Federal do Rio Grande do Sul (UFRGS) para problematizar a formação profissional nesse contexto. A formação profissional é tomada como referência por ampliar e abarcar a formação acadêmica, uma vez que o grupo é composto por estudantes de Direito e de Psicologia, advogados, advogadas e psicólogas que trabalham voluntariamente no Serviço. A proposta metodológica utilizada nessa pesquisa contemplou as ferramentas da pesquisa-intervenção e a experimentação fotográfica, baseada nas estratégias da intervenção fotográfica. A fotografia colocou-se no processo de pesquisa, inserida em um longo acompanhamento junto ao grupo, e mostrou-se como disparadora do dispositivo da visibilidade, potencializando que os sujeitos da pesquisa falassem sobre suas experiências através de outra linguagem que não a jurídica. O momento das oficinas de fotografia com a produção de fotografias pelos sujeitos da pesquisa configurou-se em um espaço no qual questões referentes à formação profissional, enquanto experiência de si e trabalho de si sobre si mesmo, puderam ser explicitadas e, sobretudo, compartilhadas. Os efeitos desse estudo apontam para a elaboração de um trabalho ético, produzido por uma experiência de dobrar-se sobre si para produzir-se sujeito de sua própria conduta. Estas transformações tornaram-se possíveis na medida em que, ao trabalharem com direitos da mulher e com gênero, aqueles e aquelas que fazem parte do G8G foram convocados e convocadas a produzirem outros modos de fazer Direito, através das composições de assistência e assessoria e Direito e Psicologia, tensionando as noções de público-privado. As transformações possíveis passam pela construção do “afetar-se” como elemento da formação jurídica, tensionando as noções de neutralidade e de imparcialidade sustentadas pelo discurso jurídico. Dessa forma, este estudo possibilitou “dar a ver” outra formação jurídica que se forja com outros modos de fazer Direito e de fazer Psicologia no contexto da assistência e da assessoria jurídica universitária em direitos da mulher.
This study analyses the professional training in legal university assistance and advice that works with women rights. The study analysis uses the experience forged by Grupo 8-Generalizando (G8G) from the Serviço de Assessoria Jurídica Universitária da Faculdade de Direito da Universidade Federal do Rio Grande do Sul (UFRGS) to discuss the professional training in this context. The professional training is taken as a reference because it expands and covers the academic training, since the group consists of Law and Psychology students, lawyers and psychologists who work voluntarily in the Service. The methodological proposal used in this research included the intervention-research and photography experimentation tools, based on the strategies from the photography intervention. The photography took part in the research process inserted in a long-term attendance with the group and it proved to be like a trigger of the visibility device, enhancing the research subjects to speak about their own experience through a non-legal language. The photography workshop moment with the photography output by the research subjects worked as a space in which issues related to professional training, while "self-experience" and "training of oneself", could be explained and, mostly, shared. The effects of this study point to the preparation of an "ethical work", reached by an experience of "double up on yourself" in order to produce oneself as a subject of his own conduct. These transformations were possible as, when working with women rights and with gender, those who take part of the G8G were convocated to produce other ways of understanding Law, through advice and assistance compositions of Law and Psychology, questioning the public-private notions. Among the possible transformations is included the construction of "affect yourself" as an element of the legal training, tensing the notions of neutrality and impartiality sustained by the legal speech. Thus this study enabled "the possibility to see" another legal training that is forged with other ways of understanding Law and Psychology in the context of legal university assistance and advice in women rights.

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Abi-Habib, Rudy. „Les perversions sexuelles en milieu professionnel : la violence de la pulsion scopique“. Paris 7, 2009. http://www.theses.fr/2009PA070066.

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Les perversions sexuelles en milieu professionnel : la violence de la pulsion scopique traite du choix des professions, des structures psychiques et de la violence fondamentale. L'hypothèse part de l'idée que le choix des professions est, comme la presque totalité des choix humains, en corrélation avec le mode de structuration ou d'aménagement du sujet. Nous avons pu conclure que les photographes et modèles de mode sont aménagés dans le tronc commun des états limites, l'aménagement dit « pervers », indépendamment de leur sexe et de leur nationalité. Nous pensons pouvoir aussi transposer ce que nous avons pu conclure de cette recherche concernant les photographes et les modèles de mode aux autres professions exigeant l'utilisation du regard comme pour les tireurs embusqués ou les photographes de guerre et dans un second temps à toutes les professions impliquant l'art visuel et l'art en général, qui dissimule la prégénitalité perverse sous le masque de l'esthétique artistique
The sexual perversions in the professional field: the violence of the scopic drive deals with the choice of professions, the psychological structures and the fundamental violence. Our hypothesis is based on the idea that the choice of professions is, as almost as ail human choices, in conjunction with the personality structure. We could conclude that the photographers and fashion models can both be fitted into the core of the borderline personality organization regardless of their sex and nationality. We think we can also implement what we have been able to concede from this research on photographers and fashion models to other occupations requiring the usage of the sight as snipers or war photographers and later on to ail professions involving visual art and art in general, which is supposed to mask perverse tendencies under an artistic cover

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Grossi, Valentina. „L'image négociée. Une sociologie des professions du photojournalisme à l'ère numérique“. Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH136.

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Beaucoup d’observateurs s’accordent à dire que les professions du photojournalisme sont entrées ces dernières décennies dans une crise profonde, due à la concurrence accrue avec les banques d’images et avec les amateurs. On constate cependant que de nombreuses structures continuent à prendre en charge la fabrication des images d’actualité de manière spécialisée, tout en défendant l’importance de mettre en œuvre, face à ces objets, une attitude qualifiée de « professionnelle ». Comment certains acteurs peuvent-ils revendiquer avec succès la « licence » de produire ces artefacts et la possibilité de définir de manière autonome leur propre « mandat », à l’heure où le monopole sur ce type de production semble avoir perdu son évidence ?La réponse à cette question est cherchée à travers une double enquête, historique puis ethnographique. La seconde a été menée dans trois rédactions françaises : le service photo d’une agence de presse mondiale, la rédaction print d’un quotidien national et la rédaction web d’un news magazine. L’enquête a conduit à mettre en lumière que la forte division du travail dans les entreprises de presse n’est pas antinomique avec l’exercice, de la part des acteurs, d’une autonomie professionnelle, entendue comme la capacité à mettre en œuvre des arbitrages complexes tout en menant une réflexion sur les finalités mêmes de leur activité. La virtuosité des professionnels du photojournalisme consiste à faire tenir ensemble des contraintes hétérogènes, irréductibles à la seule logique du profit. Ces dernières se renforcent et se réactualisent à partir des interactions entre les acteurs qui composent les différents segments professionnels et lors des contacts de ces mêmes acteurs avec des groupes extérieurs aux entreprises de presse (ie. les sources et le public).L’autonomie est donc le résultat d’une organisation du travail sui generis qui permet aux professionnels de développer une morale spécifique articulée à celle de groupements voisins ainsi que l’« intelligence » de leur activité. Mais des tendances à la « déprofessionnalisation » sont également repérables : l’autonomie des acteurs peut être mise à mal à l’intérieur de dispositifs de production qui tendent à individualiser le travail et, en même temps, à réduire la multidimensionnalité de l’évaluation.Cette thèse entend ainsi contribuer aux réflexions actuelles sur l’impact des technologies numériques et des nouvelles formes d’organisation du travail sur l’autonomie professionnelle
Many observers argue that the professions revolving around photojournalism are facing a deep crisis in recent decades due to increased competition with image banks and amateurs. However, several organizations continue to handle the production of photojournalistic images in a specialized manner, championing the importance of maintaining what they refer to as a “professional” attitude towards these objects. How can some actors successfully claim the “license” to produce these artifacts and the possibility of autonomously defining their own “mandate”, while their monopoly over this activity is no longer taken for granted? A two-pronged inquiry, both historical and ethnographic, will provide an answer to this question. The ethnographic part of this research was carried out on three French editorial boards: the photo service of an international news agency, the editorial staff of the print edition of a national newspaper, and the web editorial team of a news magazine. This investigation showed that the strong division of labor in media companies is not at odds with the exercise of professional autonomy, understood as the ability, for actors, to implement complex assessments while reflecting on the very aims of their activity. The virtuosity of photojournalism professionals consists in bringing together heterogeneous constraints, which are not reducible to the simple logic of profit. These constraints are reinforced and updated through interactions between actors who compose the different professional segments and through the contacts they maintain with external groups (i.e. the sources and the public). Autonomy is therefore the result of a sui generis work organization that allows professionals to develop a specific morality in connection with that of neighboring groups as well as the “intelligence” of their activity. However, tendencies towards “deprofessionalization” are also noticeable: the actors’ autonomy is undermined when production systems tend to individualize work and, at the same time, to abolish complex judgment. This thesis thus aims to contribute to current discussions on the impact of digital technologies and new forms of work organization on professional autonomy

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Krauss, Vivian Wolf. „Laboratório, estúdio, ateliê: fotógrafos e ofício fotográfico em São Paulo (1939-1970)“. Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-09012014-121717/.

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O objeto de estudo desta dissertação é o surgimento do campo fotográfico profissional paulistano entre 1939 e 1970, fenômeno intimamente ligado à consolidação da sociedade de consumo em São Paulo. Ela tem como objetivo investigar as diferentes forças sociais que atuaram na formação da imagem da metrópole de seus artefatos, edifícios, pessoas e espaços componentes procurando entender por que uma e não outra representação da cidade; por que determinados profissionais e não outros a produziram. O tema foi abordado em três escalas. O primeiro capítulo traz um zoom sobre a atividade de um estúdio fotográfico, o Fotolabor, propriedade dos irmãos Werner e Geraldo Haberkorn. Descreve sua produção, as relações de trabalho, de aprendizado, os clientes e outros aspectos relevantes. O segundo capítulo abre um pouco o foco e tem como tema os fotógrafos de estúdio do período, a relação entre fotografia, publicidade e o desenvolvimento dos meios de comunicação impressos no Brasil. O terceiro amplia o campo de visão, como uma lente grande angular, e traz à cena fotógrafos, comerciantes e importadores de produtos fotográficos, numa visão de conjunto do que se denominou mercado fotográfico. Espera-se, assim, contribuir para uma melhor compreensão do trabalho dos fotógrafos profissionais em São Paulo no século XX.
The subject of this thesis is the rise of the professional photographic field in São Paulo between 1939-1970, understood as a phenomenon that establishes a deep relationship with the consumer societys growth in the city at that time. It aims to investigate the different social forces that led to the conception and creation of the metropolis image its artifacts, buildings, people and spaces trying to understand why that image has been created and why a specific kind of professional produced it (foreign photographers in Brazil). The theme was approached on three levels. The first chapter gives a close up upon the activities of a photography studio, named Fotolabor, owned by the brothers Werner and Geraldo Haberkorn. This first chapter describes its production, its work relationships, the apprenticeship in the studio, its clients and other relevant aspects. The second chapter focuses on and looks at the photographers themselves (their life histories, the way they saw themselves and their colleagues) and at the relationship between photography, advertising and the press development in Brazil. The third chapter extends the field of view, much like a wide angle lens, and brings to the scene photographers, traders and importers of photographic products, an overview of what was called photographic market. It aims, therefore, to contribute to a better understanding of the work of professional photographers in São Paulo in the twentieth century.

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COSTA, ANA VALERIA DE FIGUEIREDO DA. „PHOTOGRAPHIC IMAGES OF TEACHERS: A VISUAL JOURNEY THROUGH THE TEACHING PROFESSION IN ELEMENTARY SCHOOLS IN RIO DE JANEIRO AT THE END OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12305@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Esta tese tem como objetivo central investigar, através de registros e reproduções fotográficas, as relações sociais, usos e costumes que emergem das imagens de professoras de escolas municipais do Rio de Janeiro, no período compreendido entre final do século XIX (década de 1890) e início do século XX (décadas iniciais), analisando como a imagem das professoras vem sendo veiculada e agregada a valores pelo documento fotográfico, refletida no cotidiano e nas práticas escolares da época focalizada neste estudo. Dessa forma, o trabalho tomou o curso de um estudo histórico-sociológico na de busca de significados, manifestos e latentes, no discurso visual das imagens fotográficas de professoras de escolas públicas do município do Rio de Janeiro, percorrendo documentos fotográficos do final do século XIX e início do século XX - Primeira República -, numa tentativa de mapear os usos e costumes pedagógicos da vida cotidiana, inseridos no trabalho docente dessas professoras que inscreveram suas identidades e como são olhadas ao longo das épocas. A escolha da cidade do Rio de Janeiro se deve ao fato de ter sido este município a capital do país, tendo abrigado e emanado, então, modos oficiais de conduta profissional para o magistério, assim como para outras profissões, além de, nos dias de hoje, continuar sendo uma cidade-pólo difusora de hábitos e costumes que se difundem por todo o país. A estrutura de análise tem como texto principal a fotografia como texto visual, tomando por base os caminhos teóricos nos estudos de Bóris Kossoy, Ana Maria Mauad, Lorenzo Vilches, Ruggiero Eugeni, Roland Barthes, entre outros autores apresentados. As considerações finais apontam que o estudo de imagens, documentos fotográficos de professoras de escolas públicas do município do Rio de Janeiro, pode trazer propostas de um novo olhar sobre a construção da identidade docente, sobre as redes onde essa identidade é tecida e se configura, não estando essas imagens alheias aos acontecimentos, tampouco às ideologias das épocas em que foram produzidas, registradas e veiculadas. Essas imagens não podem ser analisadas sem que o espectador do agora esteja impregnado da época em que vive, o que abre caminho para um dialogismo entre o registro e a visão desse observador atual.
This thesis aims mainly at investigating, through photographic records and reproductions, the social relations and customs which emerge from the analysis of images of Rio de Janeiro`s municipal school teachers, during the period between the end of the 19th century (the 1890s) and the beginning of the 20th century (its initial decades). By analyzing how the images of the teachers was made public and attached to values through photographic documents, reflected in everyday school practices of the period investigated, the work took the form of a historicalsociological study. This search for meaning in the visual discourse of the photographic images analyzed allowed the mapping of the everyday pedagogical customs of these female teachers who imprinted their identities. The structure used to analyze the photographs was based on the premise which also defines photography as a visual text, benefiting from the theoretical leads laid by Boris Kossoy, Ana Maria Mauad, Lorenzo Vilches, Ruggero Eugeni, Erwin Panofsky, Roland Barthes, among other authors cited. The city of Rio de Janeiro was chosen because it was the country`s capital until the year 1960, besides the fact that, nowadays, it remains a broadcasting hub in terms of habits and customs which spread throughout the country, having, therefore, welcomed and emanated official modes of professional conduct; in the case of this thesis, the identity of female schoolteachers. The final considerations of the work point out that the study of images and photographic documents of Rio de Janeiro`s elementary public school teachers offers a new look on the construction of the teaching identity, on the networks from which this identity is woven. These images do reflect the facts as well as the ideologies of the periods in which they were produced, recorded and made public. They can only be analyzed if today`s audience is permeated not only by the time in which it lives, but also by the context in which these photographs were taken, which opens the way to a dialogue between the record and the view of the contemporary observer.

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Engelbertsson, Petter, Rani Karlsson und Lina Theander. „Det sa bara klick! : En kvantitativ studie om varumärkeslojaliteten bland Canons och Nikons hobbyfotografer“. Thesis, Jönköping University, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-1368.

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Bakgrund: Fotografering är på tapeten mer än någonsin. Försäljningen av systemkameror slår nya rekord för varje år och här Canon och Nikon de världsledande kameramärkena. Många av deras respektive kunder anses vara mycket lojala gentemot varumärket och kan inte tänka sig att byta till det konkurrerande kameramärket. Hängivenheten kan dock tyckas märklig då de två fotogiganterna inte skiljer sig nämnvärt från varandra i sina produktutbud.

Syfte: Syftet med studien är att beskriva eventuella lojalitetsskillnader mellan Canons och Nikons hobbyfotografer i Sverige. Vi vill vidare reda ut varför dessa skillnader eller icke-skillnader finns då kameramärkenas produkter knappt skiljer sig åt.

Avgränsningar: Studien utförs främst utifrån ett konsumentperspektiv – producenternas perspektiv har således inte behandlats. Vidare är vi enbart intresserade av att kartlägga och analysera lojaliteten bland hobbyfotografer i Sverige som använder Canon eller Nikon.

Genomförande: Utifrån de tre områdena individ, grupp och märkesprodukt skapade vi en enkät som skickades ut till drygt 850 studenter på distanskursen Digital bildbehandling på Högskolan för lärande och kommunikation i Jönköping. Därmed använde vi oss av en kvantitativ ansats i form av en respondentundersökning. Med undersökningen ämnade vi kartlägga lojaliteten bland Canons och Nikons hobby-fotografer, vilket senare låg till grund för analysen där vi utifrån nämnda teoriområden undersökte varför lojaliteten uppkommit.

Resultat: Varumärkeslojaliteten bland Canons och Nikons fotografer visade sig vara likformad. Dock kunde tendensen att användare av Nikon generellt är mer extrema i sin lojalitet tydas; deras beteenden och attityder genererar högre såväl lojalitet som hyperlojalitet. Vidare kom vi fram till att de tre delarna individ, grupp och märkesprodukt tillsammans utgör grundstenar i varumärkeslojaliteten; denna process har vi sammanfattat i en modell. Vi menar vidare att nuvarande lojalitetsteorier borde fokusera mer på gruppen.

Background: Photography is more popular than ever. The number of sold single-lens reflex cameras increases every year. Canon and Nikon are the two leading brands when it comes to this type of camera. Many of their buyers are considered as being very loyal to their respective brand, and thus they cannot imagine switching to the competiting brand. The preference for a certain brand does seem somewhat strange as the products that the two giants offer do not differ a lot.

Aim: The aim of the study is to describe possible differences concerning loyalty among Canon’s and Nikon’s non professional photographers in Sweden. Also, the purpose of the study is to investigate why these differences exist even though the products are so much alike.

Demarcations: The study has been carried out first and foremost from a consumer perspective. Hence, the producers’ perspective has not been taken into consideration.

Method: A questionnaire based on the three main variables individual, group and brand was formed and sent to more than 850 students that have taken the distance course Digital Image Editing at the School of Education and Communication in Jönköping.

Result: Loyalty towards a specific brand turned out to be fairly similar among Canon’s and Nikon’s photographers. Yet the tendency that the loyalty of those who use Nikon is in general more extreme was discernible; their behaviour and their attitudes generate both stronger loyalty as well as stronger hyper loyalty. The study also shows that the three different variables individual, group and brand act jointly as foundation stones in the brand loyalty; this process has been summarized in a model. Furthermore, we suggest that present loyalty theories should focus more on one of the variables, namely the group.

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Bücher zum Thema "Professional photography"

Professional advertising photography. London: Merehurst Press, 1988.

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G, Harris Michael. Professional interior photography. 2. Aufl. Oxford: Focal Press, 1998.

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G, Harris Michael, Hrsg. Professional architectural photography. 2. Aufl. Oxford: Focal Press, 1998.

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Hicks, Nigel. Professional nature photography. Oxford: Focal, 1999.

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Professional architectural photography. 3. Aufl. Oxford: Focal Press, 2002.

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Professional interior photography. 3. Aufl. Oxford: Focal Press, 2003.

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Inc, ebrary, Hrsg. Art of professional photography. Chandni Chowk, Delhi: Global Media, 2007.

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Elmansy, Rafiq. Developing Professional iPhone Photography. Berkeley, CA: Apress, 2018. http://dx.doi.org/10.1007/978-1-4842-3186-9.

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Reed, Vilia. Professional photographic retouching techniques. Rochester, N.Y: Eastman Kodak Co., 1986.

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Alan, Brown. Lighting secrets for the professional photographer. Cincinnati, Ohio: Writer's Digest Books, 1990.

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Buchteile zum Thema "Professional photography"

Elmansy, Rafiq. „Working with Photography Projects“. In Developing Professional iPhone Photography, 61–102. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3186-9_3.

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Elmansy, Rafiq. „Unleash Your iPhone Camera’s Capabilities“. In Developing Professional iPhone Photography, 1–29. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3186-9_1.

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Elmansy, Rafiq. „Storing Your Photos“. In Developing Professional iPhone Photography, 287–308. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3186-9_10.

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Elmansy, Rafiq. „Photo Editing for Social Networks“. In Developing Professional iPhone Photography, 309–30. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3186-9_11.

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Elmansy, Rafiq. „Marketing and Selling Photos Like a Pro“. In Developing Professional iPhone Photography, 331–57. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3186-9_12.

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Elmansy, Rafiq. „Photo Retouching Techniques“. In Developing Professional iPhone Photography, 31–59. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3186-9_2.

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Elmansy, Rafiq. „Mastering Photo Editing and Applying Effects“. In Developing Professional iPhone Photography, 103–48. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3186-9_4.

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Elmansy, Rafiq. „Integrating with Adobe Lightroom on the Desktop“. In Developing Professional iPhone Photography, 149–74. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3186-9_5.

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Elmansy, Rafiq. „Integrating Your Photos with Adobe Photoshop on the Desktop“. In Developing Professional iPhone Photography, 175–95. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3186-9_6.

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Elmansy, Rafiq. „Turning Photos into Fine Art“. In Developing Professional iPhone Photography, 197–226. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3186-9_7.

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Konferenzberichte zum Thema "Professional photography"

Beretta, Giordano B. „Professional portrait studio for amateur digital photography“. In Photonics West '98 Electronic Imaging, herausgegeben von Giordano B. Beretta und Reiner Eschbach. SPIE, 1998. http://dx.doi.org/10.1117/12.298305.

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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio und 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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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.

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Planska-Simeonova, Kamelia. „APPLICATION OF PHOTOGRAPHY IN VISUAL LITERACY EDUCATION IN THE PROFESSIONAL FIELD “PUBLIC COMMUNICATIONS AND INFORMATION SCIENCES”“. In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.1907.

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Hertzberg, Jean, und Alex Sweetman. „Impact and Outcomes of a Flow Visualization Course“. In ASME 2009 Fluids Engineering Division Summer Meeting. ASMEDC, 2009. http://dx.doi.org/10.1115/fedsm2009-78480.

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For the past six years, a course on flow visualization has been offered to mixed teams of graduate and undergraduate engineering and fine arts photography students at the University of Colorado. The course has significant technical content on flow visualization and photographic techniques, and includes some emphasis on documentation and the interpretation of results, particularly with respect to atmospheric dynamics as revealed by clouds. What makes this course unusual is the emphasis on the production of images for aesthetic purposes: for art. While a number of art/science collaborations are growing worldwide, both in professional and academic communities, typically scientists are expected to contribute technical support while artists produce art. A particularly unusual aspect of this course is that all students are expected to demonstrate both aesthetic sensibility and scientific discipline. Another is that students are not constrained to study specific phenomena or use specific techniques; instead, creativity is required. A major outcome from this course is a series of stunning images. In addition, anecdotal evidence suggests that this course has a lasting impact on students’ perception of fluid physics, which can be contrasted to the effect of traditional introductory fluids courses. This raises the question of whether this impact is significant with respect to students’ understanding and appreciation of fluid mechanics, and if so, what aspect of the flow visualization course is most important? A survey instrument is being designed to quantify whether students’ awareness of fluid mechanics in the world around them changes when they take these courses and if students’ attitudes towards fluids is changed when they take these courses.

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Yancheva, Gergana, Kamelia Planska-Simeonova und Svetoslava Dimitrova. „EDUCATION IN DOCUMENTARY AND APPLIED PHOTOGRAPHY AS PART OF THE TRAINING OF STUDENTS IN THE PROFESSIONAL FIELD PUBLIC COMMUNICATIONS AND INFORMATION SCIENCES. PROJECT RESULTS“. In 13th annual International Conference of Education, Research and Innovation. IATED, 2020. http://dx.doi.org/10.21125/iceri.2020.0873.

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Hess Norris, Debra. „All you need is love“. In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.3.13.

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Preservation of photographic materials, both physical and digital, presents numerous challenges, and photographic collections are at risk world-wide. In response to this danger, regional partners have worked with international organizations to forge global training initiatives and platforms centred on experiential learning and designed with curricula tailored to speci c climates, geographies, needs and outcomes. paper highlights three forward-thinking e orts. The Middle East Photograph Preservation Initiative (MEPPI) has provided training to collections in 16 countries. Préservation du Patrimoine Photographique Africain (3PA) has connected and empowered talented African archivists, artists and collections care professionals. Training efforts by APOYO have sought to build a regional network to preserve collections in Latin America. By using problem-based learning, advocacy and community engagement, these programmes offer new paths for collaboration in an effort to protect a critical piece of our world heritage.

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Chen, Yi-Ling, Jan Klopp, Min Sun, Shao-Yi Chien und Kwan-Liu Ma. „Learning to Compose with Professional Photographs on the Web“. In MM '17: ACM Multimedia Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3123266.3123274.

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Zhao, Li-chen, Yong Peng, Yi-ben Zhang und Song Yao. „New Methodology for Train Component Crash Dynamic Response by High-Speed Photography 3D Analysis Method“. In 14th COTA International Conference of Transportation Professionals. Reston, VA: American Society of Civil Engineers, 2014. http://dx.doi.org/10.1061/9780784413623.213.

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Berndt, Annette. „How engineering students work with photographs to address authentic socio-technical problems in a globalized world“. In 2012 IEEE International Professional Communication Conference (IPCC 2012). IEEE, 2012. http://dx.doi.org/10.1109/ipcc.2012.6408648.

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Kurihara, Takehito, Yoshitsugu Manabe, Naokazu Aoki und Hiroyuki Kobayashi. „Digital image improvement by adding noise: an example by a professional photographer“. In Electronic Imaging 2008, herausgegeben von Susan P. Farnand und Frans Gaykema. SPIE, 2008. http://dx.doi.org/10.1117/12.766310.

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Berichte der Organisationen zum Thema "Professional photography"

Jablon, Sara. What do fashion designers look like? Comparing representations of stock photograph designers and professional designers. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-1166.

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