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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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Newbury, Darren. „Talking about Practice: photography students, photographic culture and professional identities“. British Journal of Sociology of Education 18, Nr. 3 (September 1997): 421–34. http://dx.doi.org/10.1080/0142569970180307.
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Beldea, Alex. „Digital Intifada: Photography as Protest in Palestine“. Protest, Vol. 4, no. 2 (2019): 56–61. http://dx.doi.org/10.47659/m7.056.art.
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A myriad of images inundates us daily with sequences from a more or less proximate reality, leaving us with the task of negotiating our responses to these representations that empathically seek our attention. The images that we encounter arrive in various forms on various platforms: advertising photographs, surveillance images, selfies, pictures of war or citizen photographs… In the midst of this new and dynamic representational landscape, independent activist groups and photographers documenting injustices around the world have become more prevalent, taking advantage of accessible means of photographic capture and of the possibility for immediate sharing of images with the world. Palestine is one of the places where injustices happen on a daily basis, leaving Palestinians with few and unequal means to respond with a counter narrative. This new online reality with its social media platforms has its own limitations but it is now an important part of their resistance, with photography being used as a form of protest. Citizen and independent photographers, such as Janna Tamimi and the Activestills group, are using these online channels to attest to injustice and oppression themselves, regardless of the presence of the photojournalist as a witness. The professional stance of photojournalists and their objective observations are assumptions that have been fading out, motivating non-professionals from Palestine, and other places, to disseminate imagery with the hope to be seen and to be heard. Keywords: Citizen Photography, new media, Palestine, protest, social media
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Horevalov, Serhiy, und Natalia Zykun. „Photography and Development of Photo Industry in Ukraine: History and Modernity (to the 180th Anniversary of Photography)“. Scientific notes of the Institute of Journalism, Nr. 1 (76) (2020): 53–65. http://dx.doi.org/10.17721/2522-1272.2020.76.4.
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In the article the multi-subject phenomenon of photography, which clearly combines the fea-tures of a document, a work of art, modern technologies and a means of communication is stud-ied in the diachronic aspects using the methods of comparative analysis, systematization and generalization. It summarizes the information about the long history of photography as a form of fixation of reality, as a way of storing and transmitting information. The changes in functional and instru-mental characteristics of photography are outlined. The rapid expansion of the direction of development of photography in many Ukrainian regions as early as the late nineteenth and in the early twentieth centuries is indicated: formation of infrastructure; emergence of professional and amateur photo societies and organizations that have been active in professional and educational and promotional activities. It is proved that active photography activity formed a public request for scientific study of pho-tography, its theory formation; caused the emergence of specialized periodical photo editions (“Photo-Cinema” (1924), “Photo for Everyone” (1928-1930) and “Photo – Socialistic Construction” (1932-1934). All this contributed to the emergence of a system of professionals training in photography, formal photo education, study of photography in art educational institutions. The prerequisites and the first steps of formation of photojournalism and the system of photo genres are traced. The active participation of Ukrainian masters in production and improvement of photographic equipment is stated. It is said that in the 30’s of the twentieth century a significant step of state policy was made in development of the plants of mechanical engineering and chemical industry of Ukraine, which created the preconditions for development of photo industry. The considerable attention is paid to the major achievements of Ukrainian production of photographic equipment, first of all at the Kyiv Arsenal Factory.
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Ferenc, Tomasz. „Nudity, Sexuality, Photography. Visual Redefinition of the Body“. Qualitative Sociology Review 14, Nr. 2 (28.08.2018): 96–114. http://dx.doi.org/10.18778/1733-8077.14.2.06.
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The article examines the relations between photography, body, nudity, and sexuality. It presents changing relations of photography with a naked or semi-naked body and different forms and recording conventions. From the mid-19th century the naked body became the subject of scientifically grounded photographic explorations, an allegorical motif referring to painting traditions, an object of interest and excitement for the newly-developed “touristic” perspective. These three main ways in which photographs depicting nudity were being taken at that time shaped three visual modes: artistic-documentary, ethnographic-travelling, and scientific-medical. It has deep cultural consequences, including those in the ways of shaping the notions of the corporeal and the sexual. Collaterally, one more, probably prevalent in numbers, kind of photographical images arose: pornographic. In the middle of the 19th century, the repertoire of pornographic pictures was already very wide, and soon it become one of the photographic pillars of visual imagination of the modern society, appealing to private and professional use of photography, popular culture, advertisement, art. The number of erotic and pornographic pictures rose hand over fist with the development of digital photography. Access to pornographic data is easy, fast, and cheap, thanks to the Internet, as it never was before. Photography has fuelled pornography, laying foundations for a massive and lucrative business, employing a huge group of professional sex workers. How all those processes affected our imagination and real practices, what does the staggering number of erotic photography denote? One possible answer comes from Michel Foucault who suggests that our civilization does not have any ars erotica, but only scientia sexualis. Creating sexual discourse became an obsession of our civilization, and its main pleasure is the pleasure of analysis and a constant production of truth about sex. Maybe today the main pleasure is about watching technically registered images, and perhaps that is why we may consider visual redefinition of the body as the main social effect of the invention of the photography.
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Putra, Sandy Dwi, und Kankan Kasmana. „Interior Photograph Experiment of The House Tour Hotel Bandung“. ARTic 3, Nr. 1 (15.12.2020): 259–76. http://dx.doi.org/10.34010/artic.v3i2.3696.
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The rapid advancement of information and communication technology influences the growth of creative industries such as firms in the fields of architecture, real estate and interior. The firm uses the advantages of information and communication technology, namely the internet and social media to conduct marketing. The use of social media as a marketing strategy of real estate and interior firms today is increasingly used as a promotional medium. The use of photos especially for interior promotion requires good photography techniques, has the power to stir consumer perception of interior services. This research aims to conduct photography experiments on the interior of The House Tour Hotel, designed by an architecture firm called Be Good Design Architect, this experiment was conducted to find out the techniques of photography in photographing the interior. The method used is photography experimentation using photography techniques based on literature and photographic methods from interviews with professional photographer Mario Wibowo. The result of this experiment is interior photo taken from the bedroom room of The House Tour Hotel.
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Sommer, Bjorn. „Hybrid Stereoscopic Photography - Analogue Stereo Photography meets the Digital Age with the StereoCompass app“. Electronic Imaging 2021, Nr. 2 (18.01.2021): 58–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.2.sda-058.
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Stereoscopic photography has a long history which started just a few years after the first known photo was taken: 1849 Sir David Brewster introduced the first binocular camera. Whereas mobile photography is omnipresent because of the wide distribution of smart phones, stereoscopic photography is only used by a very small set of enthusiasts or professional (stereo) photographers. One important aspect of professional stereoscopic photography is that the required technology is usually quite expensive. Here, we present an alternative approach, uniting easily affordable vintage analogue SLR cameras with smart phone technology to measure and predict the stereo base/camera separation as well as the focal distance to zero parallax. For this purpose, the StereoCompass app was developed which is utilizing a number of smart phone sensors, combined with a Google Maps-based distance measurement. Three application cases including red/cyan anaglyph stereo photographs are shown. More information and the app can be found at: <uri>http://stereocompass.i2d.uk</uri>
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Yang, Yunchang. „Smartphone photography and its socio-economic life in China: An ethnographic analysis“. Global Media and China 6, Nr. 3 (22.04.2021): 259–80. http://dx.doi.org/10.1177/20594364211005058.
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The smartphone is perhaps one of the few items that can define our time in terms of its ubiquity and mobility. The photographic feature of various types of smartphones has also drawn the attention of consumers and manufacturers in recent years, with the consecutive upgrades of built-in cameras, photo-editing and sharing apps. From the taking, retouching, to publishing a photograph, smartphone photography, coupled with social media, has become important in understanding the relationships between digital image and sociality, aesthetics and identity. This article examines several new developments such as the rise of ‘professional amateurs’ and the selfie within the Chinese context. It then attempts to develop theories of smartphone photography that incorporate these developments. Using ethnographic analysis and interviews, this article aims to theorize smartphone photography as a series of practices that reveal local and individual specifications that traverse technicity, sociality and aesthetics. It shows how this has had a significant impact on Chinese people’s economic and social life.
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Dukic, Zlatko. „Photography in clinical dental practice“. Serbian Dental Journal 54, Nr. 2 (2007): 97–104. http://dx.doi.org/10.2298/sgs0702097d.
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The emersion of photography represents a milestone in the development of human society making life richer and more comprehensive. Dental photography, a part of clinical medical photography, has primarily the role as a document, but also a tool in education of students and continuing professional education of dentists. The aim of this paper is to present possible applications of classical and digital photography in dentistry on today?s level of technological development. Dental photography requires certain additional equipment (special lights, polarization filters, retractors, small neutral background plates?) for quality images of intraoral structures. An important feature of dental photography is documentation i.e the possibility to record maximum information in repeatable conditions. Standardization of conditions during intraoral photographing, adequate storage and archiving of dental photographs are also important preconditions for quality and useful photography. .
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Saburova, Tatiana. „Geographical Imagination, Anthropology, and Political Exiles“. Sibirica 19, Nr. 1 (01.03.2020): 57–84. http://dx.doi.org/10.3167/sib.2020.190105.
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This article is focused on several themes connected with the history of photography, political exile in Imperial Russia, exploration and representations of Siberia in the late 19th–early 20th centuries. Photography became an essential tool in numerous geographic, topographic and ethnographic expeditions to Siberia in the late 19th century; well-known scientists started to master photography or were accompanied by professional photographers in their expeditions, including ones organized by the Russian Imperial Geographic Society, which resulted in the photographic records, reports, publications and exhibitions. Photography was rapidly spreading across Asian Russia and by the end of the 19th century there was a photo studio (or several ones) in almost every Siberian town. Political exiles were often among Siberian photographers, making photography their new profession, business, a way of getting a social status in the local society, and a means of surviving financially as well as intellectually and emotionally. They contributed significantly to the museum’s collections by photographing indigenous people in Siberia and even traveling to Mongolia and China, displaying “types” as a part of anthropological research in Asia and presenting “views” of the Russian empire’s borderlands. The visual representation of Siberia corresponded with general perceptions of an exotic East, populated by “primitive” peoples devoid of civilization, a trope reinforced by numerous photographs and depictions of Siberia as an untamed natural world, later transformed and modernized by the railroads construction.
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Sheikh-Miller, Nasira. „Muslim Cultures beyond the Aperture: An East African Photo-Story Illuminated by First-Hand Accounts“. Journal of Material Cultures in the Muslim World 1, Nr. 1-2 (09.02.2021): 150–90. http://dx.doi.org/10.1163/26666286-12340006.
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Abstract This paper is an exploration of Indian Muslim culture in East Africa through pre- and post-independence eras via the medium of photography. It examines the art and craft of photographic practice, the training of photographers, their social networks and those of their patrons, as well as the personal context of photographs. It also discusses the dispersal of archives and personal collections. It is based upon first-hand accounts from professional photographers, their family members as well as patrons, whose ancestors travelled from India via Indian Ocean trade routes. Fareh te chareh is a Gujarati proverb meaning ‘A person who roams advances.’
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Levine, Neil. „The Template of Photography in Nineteenth-century Architectural Representation“. Journal of the Society of Architectural Historians 71, Nr. 3 (01.09.2012): 306–31. http://dx.doi.org/10.1525/jsah.2012.71.3.306.
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For the only perspectival view of the Bibliothèque Sainte-Geneviève he drew for publication in a professional magazine, Henri Labrouste traced a photograph commissioned for that purpose. Taken in 1852 by the Bisson Frères, the image is very likely the first commissioned photograph of a contemporary building as well as the firm’s first architectural photograph. This use of photography as a template in the architectural representation of a contemporary building predates by almost twenty years what later became common practice. Labrouste’s deployment of a mechanical interface in drawing mirrors his use of exposed iron in the building itself and carries with it many of the same implications regarding the search for a modern, realistic, and industrialized form of expression. In The Template of Photography in Nineteenth-century Architectural Representation, Neil Levine marshals histories of the book and of photography to help explain the context in which Labrouste developed this idea.
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Goodwin, Dale P., Tom Policano und Thomas O. McMeekin. „Practical clinical dermatology: Photography with professional results“. Journal of the American Academy of Dermatology 37, Nr. 6 (Dezember 1997): 989–90. http://dx.doi.org/10.1016/s0190-9622(97)70077-x.
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PEMBERTON, S. GEORGE, und ERIN A. PEMBERTON. „ROLE OF ICHNOLOGY IN THE HISTORY OF PHOTOGRAPHY“. Earth Sciences History 37, Nr. 1 (01.01.2018): 63–87. http://dx.doi.org/10.17704/1944-6178-37.1.63.
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ABSTRACT Vertebrate ichnology in North America has a long and distinguished history, starting with the remarkable discoveries by Edward Hitchcock of dinosaur footprints and trackways in the Connecticut River Valley. Hitchcock assembled a unique collection that is currently housed in the Beneski Museum of Natural History, Amherst College, and his work essentially constituted the beginnings of ichnology as a viable sub-discipline of paleontology. Although his original interpretation that these Late Triassic locomotion traces were bird tracks was incorrect, he indirectly linked birds and dinosaurs. Other talented amateurs including John Collins Warren, James Deane, Dexter Marsh and Roswell Field worked on these track sites and some were prolific authors. Three major books have significance, Dr. John Collins Warren published his book Remarks on Some Fossil Impressions in the Sandstone Rocks of Connecticut River in 1854 making it the second book ever published exclusively on ichnology and the second American publication (and first American scientific publication) to be illustrated with a photograph, a salt print, used as the frontispiece depicting what he interpreted as the fossilized tracks of prehistoric birds. James Deane published a book in 1861entitled Ichnographs from the Sandstone of Connecticut River containing photographs and etchings. Finally, Edward Hitchcock published The Supplement to the Ichnology of New England in 1865 that contained seven albumen prints by the professional photographer J. Lovell of Amherst. These volumes pioneered the use of photography in American scientific publications.
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Gardner, Jerad M., und Timothy C. Allen. „Keep Calm and Tweet On: Legal and Ethical Considerations for Pathologists Using Social Media“. Archives of Pathology & Laboratory Medicine 143, Nr. 1 (22.08.2018): 75–80. http://dx.doi.org/10.5858/arpa.2018-0313-sa.
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Recent privacy breaches by a major social media company have again raised questions from some pathologists regarding the legality and ethics of sharing pathology images on social media. The authors examined ethical principles as well as historic and legal precedents relevant to pathology medical photography. Taking and sharing photographs of pathology specimens is embedded into the culture of the specialty of pathology and has been for more than a century. In general, the pathologist who takes the photograph of a gross or microscopic specimen owns the copyright to that photograph. Patient consent is not legally or ethically required to take or use deidentified photographs of pathology specimens. Current US privacy laws (Health Insurance Portability and Accountability Act [HIPAA] of 1996) permit public sharing of deidentified pathology photographs without specific patient consent, even on social media. There is no case law of action taken against pathologists for sharing deidentified pathology images on social media or elsewhere. If there is any legal risk for pathologists or risk of patient harm in sharing pathology photographs, it is very small. The benefits of professional social media use for pathologists, patients, and society are numerous and well documented in the literature.
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Chandawarkar, Rajiv, und Prakash Nadkarni. „Safe clinical photography: best practice guidelines for risk management and mitigation“. Archives of Plastic Surgery 48, Nr. 3 (15.05.2021): 295–304. http://dx.doi.org/10.5999/aps.2021.00262.
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Clinical photography is an essential component of patient care in plastic surgery. The use of unsecured smartphone cameras, digital cameras, social media, instant messaging, and commercially available cloud-based storage devices threatens patients’ data safety. This paper Identifies potential risks of clinical photography and heightens awareness of safe clinical photography. Specifically, we evaluated existing risk-mitigation strategies globally, comparing them to industry standards in similar settings, and formulated a framework for developing a risk-mitigation plan for avoiding data breaches by identifying the safest methods of picture taking, transfer to storage, retrieval, and use, both within and outside the organization. Since threats evolve constantly, the framework must evolve too. Based on a literature search of both PubMed and the web (via Google) with key phrases and child terms (for PubMed), the risks and consequences of data breaches in individual processes in clinical photography are identified. Current clinical-photography practices are described. Lastly, we evaluate current risk mitigation strategies for clinical photography by examining guidelines from professional organizations, governmental agencies, and non-healthcare industries. Combining lessons learned from the steps above into a comprehensive framework that could contribute to national/international guidelines on safe clinical photography, we provide recommendations for best practice guidelines. It is imperative that best practice guidelines for the simple, safe, and secure capture, transfer, storage, and retrieval of clinical photographs be co-developed through cooperative efforts between providers, hospital administrators, clinical informaticians, IT governance structures, and national professional organizations. This would significantly safeguard patient data security and provide the privacy that patients deserve and expect.
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Snyder, Robert E. „Margaret Bourke-White and the Communist Witch Hunt“. Journal of American Studies 19, Nr. 1 (April 1985): 5–25. http://dx.doi.org/10.1017/s0021875800020028.
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Margaret Bourke-White (1904–1971) has been called “the most famous woman photographer” and “the finest woman photographer of our times.” Indeed, in a photographic career that spanned nearly five decades, Bourke-White demonstrated great professional versatility, registered many photographic firsts, and in a male-dominated field set standards by which others were measured. During the 1920s, Bourke-White carved out her first reputation in architectural and industrial photography. Her pictures of steel mills, shipyards, packing houses, logging camps, quarries, auto plants, skyscrapers, banks, and terminals captured the atmosphere of the industry and the dynamics of the capitalist system. Her industrial photography was of such outstanding quality that, as one critic observed, it “transformed the American factory into a Gothic cathedral.”Henry Luce was so impressed by her early work that he hired her as the first photographer for his business magazine Fortune. Under a unique arrangement she was allowed six months out of the year to pursue her own private studio practice for advertising agencies and corporations. When Henry Luce added the pictorial magazine Life to his growing publishing empire in the 1930s, he selected Margaret Bourke-White to become one of the four original staff photographers. At Life she established the tradition of negatives printed full frame and proved by black borders, and pioneered the synchronized multiple flash picture. Bourke-White revealed the range of her photographic talents in photo essays, murals, and documentary travelogues. “As a result of her twelve- and fourteen-page essays,” Carl Mydans noted, “her monumental work became known throughout the world — beyond that of any other photographer.”
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Quanchi, Max. „Researching early photography of the Pacific Islands: An overview“. Journal of New Zealand & Pacific Studies 8, Nr. 2 (01.12.2020): 269–81. http://dx.doi.org/10.1386/nzps_00041_7.
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Historical research on the early years of photography in the Pacific Islands has revealed changes in the practice of photography, the development of Pacific imagery, tropes and stereotypes and changes in the ways images were distributed, archived and used in modern contexts. Research in the field was initially focused on photography’s indexical nature and the role of professional and amateur photographers, travellers, colonial officials and missionaries. The research highlighted here, only in the English language and excluding Aotearoa/New Zealand, reveals how later analyses have begun to grow more theoretical, in keeping with postcolonial approaches to reading cross-cultural representation, and how new directions in research point towards the nature of Indigenous engagement with early photography.
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Constantinescu, Florin-Eugen. „Gold Standard in Dental Photography: Digital Camera for Professional Dental Photography, EyeSpecial C-III“. STOMATOLOGY EDU JOURNAL 5, Nr. 3 (2018): 193. http://dx.doi.org/10.25241/stomaeduj.2018.5(3).prodnews.1.
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Staples, Amy J. „Visualism and the Authentification of the Object: Reflections on the Eliot Elisofon Collection at the National Museum of African Art“. Collections: A Journal for Museum and Archives Professionals 3, Nr. 2 (Juni 2007): 183–90. http://dx.doi.org/10.1177/155019060700300209.
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Photographic resources are well known within museum contexts. However, these images are rarely considered in terms of how they enhance the historical value of museum objects, construct aesthetic and ethnographic meanings, and interpret museum collection practices. This paper examines the multi-media collections of Eliot Elisofon, an internationally known photographer and filmmaker who traveled in Africa from 1943-1972. The Elisofon collection at the National Museum of African Art contains both photographic materials and three-dimensional objects created and collected in the course of Elisofon's professional career. I explore the ways in which Elisofon's images have been used to illustrate objects in situ, represent cultural contexts of use and meaning, and create multiple layers of authentication for the objects (i.e., artistic, documentary, ethnographic). Attention is also given to the importance of photography as a collection practice in and of itself.
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Dorofeeva, Yuliya, und Aleksey Moiseev. „Systematization of theory and methodology for teaching advertising and portrait photography based on the Russian experience“. E3S Web of Conferences 210 (2020): 18112. http://dx.doi.org/10.1051/e3sconf/202021018112.
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This article aims at systematizing the key methods, principles, and approaches that underlie the proprietary integrated methodology for teaching advertising and portrait photography. Summarizing the authors’ wealth of educational expertise and successful experiments in teaching photography in Russia has become the primary objective of this article. The main research methods we employed were as follows: comparative analysis and pedagogical experiment (ascertaining, searching, educational). Findings: Essential aspects of the proprietary integrated methods of teaching advertising and portrait photography have been described; the global and domestic experience of teaching photography has been summarized. The proprietary integrated methods for teaching advertising and portrait photography has been tested by the authors in the systems of higher education, secondary vocational education, and continuing professional education in various fields and areas: design, computer graphics, art photography / photo art, the history, theory, techniques, and technology of photography, including advertising and portrait photography. The following institutions have become the main testing platforms: GOU VO MO Moscow State Regional University, the Arts and Design School under ANO VO Business and Design Institute, the School of ANOO VO Russian University of Cooperation under the Central Union of Consumer Societies of the Russian Federation (Centrosoyuz of Russia). The article suggests a classification of the aspects essential for advertising and portrait photography, provides recommendations for how to teach these types of photography, along with featuring the statistics on successful/failed students’ assignments and providing examples of copyrighted photographs taken for magazines.
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Rawson, K. J., und Nicole Tantum. „Marie Høeg’s worldmaking photography: a photo essay“. Journal of Visual Culture 19, Nr. 2 (August 2020): 184–96. http://dx.doi.org/10.1177/1470412920941899.
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Marie Høeg, who lived from 1866–1949, was a Norwegian photographer and activist for women’s rights. In this photo essay, the authors feature six photographs depicting Marie Høeg in gender transgressive scenes. These photographs are a few of more than 30 that were recovered in the 1980s from a property where Høeg once lived with her female partner, Bolette Berg. Standing out from the traditional landscapes and portraits that were common for the professional studio of Berg & Høeg, these photographs provide a glimpse into Høeg’s playful self-expression at the onset of the 20th century. This photo essay explores not only the documentary value of these images, but also the important considerations of visibility, privacy, and the ethics of circulation that they elicit.
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Ruby, Jay. „Portraying the Dead“. OMEGA - Journal of Death and Dying 19, Nr. 1 (August 1989): 1–20. http://dx.doi.org/10.2190/hl4a-6vd6-pv42-lrwf.
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This article explores the custom of post-mortem photography. In nineteenth century America, this was a socially acceptable, publicly acknowledged form of photography. Professional photographers accepted commissions, advertised the service, and held professional discussions in their journals about the practice. The images were publicly displayed in wall frames and albums. Initially, death pictures were portraits which attempted to deny death by displaying the body as if asleep, or even conscious. By the turn-of-the-century, the deceased were displayed in a casket with an increasing emphasis upon the funeral. Today, families make their own photos; circulating them in a private manner so that many people assume that the custom has been abandoned. Counselors working with the parents of children who have died provide evidence that these images can be useful in the mourning process. The findings of this study suggest that a more thorough examination of the place of death-related photographs in the management of grief would be of value.
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Urbonavičiūtė, Laura. „The ethics of photojournalism in Lithuania: views of the news photographers“. Žurnalistikos Tyrimai 8 (07.12.2015): 70–91. http://dx.doi.org/10.15388/zt/jr.2015.8.8843.
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Digital manipulation in photojournalism is the subject of ongoing debate. At the heart of the controversy over what is and what is not an acceptable alteration of a photograph is the often tenuous relationship between the reality and the captured image. Digital photography has complicated the situation because alterations are easier to accomplish and more difficult to detect. However, there is no consensus among the visual journalists about what comprises ethical image-making. This study examines some of the challenges faced by photojournalists in Lithuania, where news photography was hampered by decades of the Soviet occupation. A questionnaire of Lithuanian Press Photo Club members and two focus groups of photojournalists showed broad agreement about the acceptable alterations of the photographic image and other ethical norms but revealed a dearth of professional empowerment to put norms into practice. Photojournalists see themselves less as journalists and more as providers of a service to media organizations. Agreement about the need to regulate the professional ethics was accompanied by denials that photojournalists can take a personal responsibility for their work.
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Pilarczyk, Ulrike. „Chalutzim—Zionist Photography in Germany and Palestine in the 1930s: A Comparative Analysis of Images“. Leo Baeck Institute Year Book 64, Nr. 1 (12.10.2019): 91–114. http://dx.doi.org/10.1093/leobaeck/ybz009.
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Abstract This article reconstructs and compares photographic perspectives on the historical phenomenon of preparing German-Jewish youth for emigration from Germany, and their subsequent training in Palestinian kibbutzim in the framework of the hachshara and the youth aliyah. It considers the photographers’ status, differentiating between professional photography and the work of amateurs, and investigates the use and addressees of these images. The image analysis that underlies this study examines facets of the photographic and pictorial conception of chalutzian youth, including motifs, style, and atmospheres. In the process, photography is classified as a unique historical image source, in which the conditions of the time inscribe themselves even beyond personal and political intentions, interests, and contexts of usage. The image analysis also aims to reconstruct the specific, visually represented individual and collective experiences of the producers and addressees of photographic images in Germany and Mandatory Palestine.
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Berle, Ian. „The principles of ethical practice in professional clinical photography“. Journal of Audiovisual Media in Medicine 27, Nr. 1 (März 2004): 11–13. http://dx.doi.org/10.1080/01405110310001658897.
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Mykytka, Iryna, und Isabel Balteiro. „Painting with words: describing women in photography“. Feminismo/s, Nr. 38 (13.07.2021): 149. http://dx.doi.org/10.14198/fem.2021.38.06.
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This study aims to identify and explore the linguistic devices used to describe women in photography, and the similarities and differences between women and men’s descriptions. Nowadays, digital photographs are often accompanied by text such as titles, descriptions, comments, or tags. Though the language used in social media has largely been explored in relation to different fields of knowledge and from different perspectives, to the best of our knowledge, there is no work dealing with the language used by professional photographers to describe women and men. In order to carry out the study, we have compiled two samples of the keywords used to describe images representing female and male figures; the source of such sample being an image stock used by professional photographers (Alamy). To fulfil our objective, descriptive adjectives were identified, analyzed, and compared and/or contrasted. The results show many similarities in the use of the descriptive adjectives for women and men’s images, and they also seem to suggest that women and women’s beauty in particular are described from the male perspective and their stereotypes in our society.
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Hill, Jason. „Weegee, Standing By“. Arts 8, Nr. 3 (26.08.2019): 108. http://dx.doi.org/10.3390/arts8030108.
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Informed by an interesting recent infrastructuralist turn in media studies and by an expanding sense among historians and theorists of photography of what might properly delimit the photographer’s toolkit, this essay considers aspects of the photography of Weegee, as these can be observed to issue from that photographer’s deep professional embeddedness in specific media-infrastructural conditions of the place and time he most productively inhabited: New York City in the early 1940s. This essay prompts questions (and hazards some answers) concerning the stakes of Weegee’s press-photographic engagements with the material, electronic, and atmospheric infrastructures of wartime dairy delivery, underground transport, and, most urgently, policing, so to better understand the fit of his pictures to the world they so cleverly described.
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Rutherford, Emer Forde, Jacqueline Priego-Hernandez, Aurelia Butcher und Clare Wedderburn. „Using photography to enhance GP trainees’ reflective practice and professional development“. Medical Humanities 44, Nr. 3 (08.02.2018): 158–64. http://dx.doi.org/10.1136/medhum-2017-011203.
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The capacity and the commitment to reflect are integral to the practice of medicine and are core components of most general practitioners (GP) training programmes. Teaching through the humanities is a growing area within medical education, but one which is often considered a voluntary ‘add-on’ for the interested doctor. This article describes an evaluation of a highly innovative pedagogical project which used photography as a means to enhance GP trainees’ reflective capacity, self-awareness and professional development. Photography was used as a tool to develop GP trainees’ skills in recognising and articulating the attitudes, feelings and values that might impact on their clinical work and to enhance their confidence in their ability to deal with these concerns/issues. We submit that photography is uniquely well suited for facilitating insight and self-reflection because it provides the ability to record ‘at the touch of a button’ those scenes and images to which our attention is intuitively drawn without the need for—or the interference of—conscious decisions. This allows us the opportunity to reflect later on the reasons for our intuitive attraction to these scenes. These photography workshops were a compulsory part of the GP training programme and, despite the participants’ traditional scientific backgrounds, the results clearly demonstrate the willingness of participants to accept—even embrace—the use of art as a tool for learning. The GP trainees who took part in this project acknowledged it to be beneficial for both their personal and professional development.
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Aytemiz, Pelin. „Making Grandfather Come Out Better“. Middle East Journal of Culture and Communication 8, Nr. 2-3 (2015): 355–73. http://dx.doi.org/10.1163/18739865-00802010.
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In contemporary Turkey, a growing number of lower to middle-income families bring old and often damaged photographs of their deceased family members to digital studios for restoration. Digital restoration artists, whether working online or from photography studios, retouch these photographs in often highly creative ways, such as adding color and fantasy backgrounds, or combining discrete portraits into fictional (diachronic) family portraits. Digital technologies such as the Photoshop program are here called upon to perform a very old desire: that of ensuring a dead person’s continued presence. Engaging with debates on the passage from analog to digital and the relationship of photography to death, I examine this process from two perspectives. First, I focus on digital artists who understand their work in professional terms as intensely material, and in social terms as one of ‘saving photographs from death’; second, I examine the renewed social potency that such digitally remastered photographs acquire in Turkish homes, where digital intervention not only ensures the continued potency of ancestral photographs in ensuring the presence of the deceased patriarch, but also enhances this presence in novel ways. Digitally remastered photographs are understood here as more than ‘just’ photo-realistic. They are ‘more perfect’ or even ‘more real’: their fictionality adds to their auratic character as icons of authority and makes them eminently suited for the renewed kind of social work that is demanded of them.
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Skrejko, Magdalena. „WŁADYSŁAW KLIMCZAK (1923–2021), NAMELY PERSISTENCE IN ACHIEVING GOALS“. Muzealnictwo 62 (17.06.2021): 111–14. http://dx.doi.org/10.5604/01.3001.0014.9466.
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The protagonist of the paper is Władysław Klimczak, a long-standing President of the Cracow Photographic Association as well as the founder and the first director of Cracow’s Museum of History of Photography. The portrait of W. Klimczak is outlined: a controversial individual of a clear-cut personality, eccentric, dynamic and hard-working, he was nevertheless extremely professional in his activities. The documentary exhibitions as well as the ‘Venus’ controversial ones mounted and curated by Władysław Klimczak are discussed.
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LITVINOV, Denis V. „MODERN METHODS TO AERO PHOTOFILMING IN THE ARCHITECTURAL AND PLANNING ANALYSIS OF THE URBAN AREA“. Urban construction and architecture 5, Nr. 1 (15.02.2015): 35–41. http://dx.doi.org/10.17673/vestnik.2015.01.6.
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In article the modern aerial photography from unmanned aerial vehicles as one of methods of the analysis of city building and the territory in design and exploration work is considered. A number of advantages of aerial photography before land photographing is allocated. The retrospective analysis of aerial photography, allowing to track its development from amateur to the professional is carried out. Its application in town planning, reconstruction and new construction is defined. Two main types of aerial photography, used in construction planned and, - perspective are allocated.
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Palmar, D. C. „Behind the Naturalist’s Lens – Celebrating the life and contribution to natural history of Charles Eric Palmar (1920-1986)“. Glasgow Naturalist 27, Nr. 1 (2019): 39–44. http://dx.doi.org/10.37208/tgn27106.
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Charles Eric Palmar was Curator of Natural History in Kelvingrove Art Gallery and Museum, Glasgow from 1949 to 1984 and a long-standing member of the Glasgow Natural History Society. This article provides an outline of his life and the major achievements in both his professional career and natural history activities. The latter included pioneering studies on the golden eagles (Aquila chrysaetos) of Scotland and made much use of photography and cinematography. A project is currently under way to scan, archive and make publicly accessible many of his photographs and films.
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Astrukov, Iosif. „Digitization of Slide Film (35mm) – Transfer, Postproduction, Admissible Changes“. Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, Nr. 1 (2021): 155–77. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_012.
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One of the most widespread photography formats before digitization, both for professional and amateur use, was the slide film (35mm, Leica format). Due to its compact size, compared to medium and large formats, this equipment was preferred by all photo reporters, photographs of the wild nature (probably the best known was the ones of the National Geographic magazine) and of course for the general people, creating family photos. Slides were the common way of presenting, when images had to be shown at wide audience. They appeared also in art – in galleries and on stage. For that reason there is enormous material shot on this medium, transferred regularly in digital format. The digitization itself is constantly changing and sometimes the same image is digitized numerous times. In this material I will follow the basic ways of digitization and the changes that occur. Important problem of the digital transfer still remains the limit of admissible postproduction, which inevitably is modifying the initial image. Keywords: Photography, Slides, Digitization, 35mm
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Lewis, Charles. „Working the Ritual: Professional Wedding Photography and the American Middle Class“. Journal of Communication Inquiry 22, Nr. 1 (Januar 1998): 72–92. http://dx.doi.org/10.1177/0196859998022001006.
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Munhoz, Paulo. „Manipulation, professional practices and deontology in informational photography: identifying new parameters“. Brazilian Journalism Research 10, Nr. 1 (25.06.2014): 210–37. http://dx.doi.org/10.25200/bjr.v10n1.2014.632.
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Mykytka, Iryna. „Noun Compounds in Photography“. Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, Nr. 2 (23.12.2020): 72–98. http://dx.doi.org/10.28914/atlantis-2020-42.2.04.
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Compounding is considered to be the most productive device in coining new words in many languages, including English. Numerous studies have dealt with compounds in recent decades. However, in spite of a large number of works on compounds in the general language, few authors have dealt with compounds in specialized languages. We find studies on compounds in science and technology or architecture, just to mention a few. The present article focuses on compound nouns in photography, a field that has to date not been researched in this regard but is extremely rich and interesting. The aim of this study is to outline the types of noun compounds in photography and to illustrate the range of semantic relationships and morphosyntactic patterns that occur in coining new noun compounds in the photography lexis. In order to carry out the study, a corpus-based approach was followed. The data was gathered from professional photography blogs providing authentic up-to-date lexis. The results show that there is a large presence and variety of patterns of nouncompounds in photography, such as noun compounds made up of noun + noun (photo album, time-lapse, shutter speed), verb + noun (catchlight, burn tool, protect filter), adjective + noun (white balance, softbox, glowing filter) and phrase compounds (depth of focus, rule of thirds, pan and tilt).
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Mihailova, Margarita A., und Marina I. Solnyshkina. „Photographers’ Nomenclature Units: A Structural and Quantitative Analysis“. Journal of History Culture and Art Research 6, Nr. 5 (28.11.2017): 166. http://dx.doi.org/10.7596/taksad.v6i5.1266.
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<p>Addressing the needs of cross and intercultural communication as well as the methodology of contrastive research, the paper presents the results of the complex analysis conducted to describe semantic and pragmatic parameters of nomenclature units denoting photography equipment in the modern Russian informal discourse of professional photographers. The research is exemplified by 34 original nomenclature units and their 34 Russian equivalents used in 6871 comments posted at “Клуб.Foto.ru” web-site in 2015. The structural and quantitative analyses of photographers’ nomenclature demonstrate the users’ morphological and graphic preferences and indirectly reflect their social and professional values. The corpus-based approach developed by Kast-Aigner (2009: 141) was applied in the study with the aim to identify the nomenclature units denoting photography equipment, validate and elaborate the data of the existing corpus. The research also throws light on the problems of professional language development and derivational processes. The perspective of the study lies in the research of the broader context of professional nomenclature. </p>
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Gunawan, Agnes Paulina. „Mendalami Dasar-Dasar dalam Pengambilan Pose pada Pemotretan Model“. Humaniora 4, Nr. 1 (30.04.2013): 377. http://dx.doi.org/10.21512/humaniora.v4i1.3448.
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There are many activities and numerous objects in this universe, which make them interesting for photographers to explore as their masterpiece. One of the things that has been enjoyed and is always developing over time is the use of human as an object, whether as a candid photography or as a posing model in accordance to photographer's concept and theme. Using human being as an object is always popular among beginners and professional photographers. Even nowadays people often hold photo shoot as a media in many social network sites. And so if they understand the simple theories in basic knowledge of using human object, the results will be maximized, and of course, much more interesting. The more a photographer does his job, the better his experience is, and his work will develop. Thus, it makes him more alert to the situation and character of a model, which will then become more observant in predicting their outcome in photography.
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Polack, Fiona. „Corporate and Worker Photographs of the Offshore Oil Industry: The Case of the Ocean Ranger“. Journal of Canadian Studies 53, Nr. 1 (28.02.2019): 152–77. http://dx.doi.org/10.3138/jcs.2018-0009.
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Images of hydrocarbon extraction at sea remain strikingly circumscribed. The most extensively circulated are either the work of professional industrial photographers employed by oil companies to take carefully vetted promotional shots, or of news photographers commissioned to document catastrophes. Corporate-sponsored photography enforces the massive scale of offshore rigs, their technological sophistication, and apparent ability to withstand the vicissitudes of the ocean; it also tends to imply that companies adhere to strict safety regimens, and equal opportunity hiring practices. Photographs created by offshore oil workers are not widely circulated in the public domain. However, three collections of images recently donated to Newfoundland and Labrador’s provincial archives offer new viewpoints on the oil industry. Lance Butler, David Boutcher, and Lloyd Major were all employed on the Ocean Ranger platform, which capsized off the coast of Newfoundland in 1982 with the loss of 84 lives–including Boutcher’s. The men’s images resituate, expand upon, and on occasions challenge tropes that predominate in corporate photography; the striking arrangement of David Boutcher’s snapshots in album format by his mother is also salutary. This essay argues for the necessity of “onshoring” the offshore, and claims that workers’ photographs can potentially help us do so through a variety of means.
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Piper, Jörg. „RGB-Splitting and Multi-Shot Techniques in Digital Photomicrography—Utilization of Astronomic RGB-Filters in True Color Imaging“. Microscopy Today 17, Nr. 1 (Januar 2009): 48–51. http://dx.doi.org/10.1017/s1551929500055036.
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A great many filters in common use in astronomy are used in order to improve the resulting optical quality in observations and photographs [1-4]. The majority of these filters are also capable of improving image quality in microscopy and photomicrography. Several instances of this have already been reported in this magazine [5-6]. Some new types of RGB-CCD astro filters have recently been developed for multi-shot techniques [2]. These filters can also be regarded as interesting tools for photomicrography that can maximize the quality of true color imaging based on RGB-splitting and multi-shot techniques. The respective methods and their technical benefit are presented and discussed below.RGB-splitting and multi-shot techniques are routine tools in some fields of professional studio photography and astronomical photography. They can lead to visible improvements in sharpness, resolution and color balance. To obtain maximum image quality, special multi-shot cameras can be used. These are fitted with a multi-shot sensor that does not require any color filters. Therefore, each pixel is sensitive for all colors and pixel interpolations are not necessary.