Relevant bibliographies by topics / American Photographers

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'American Photographers'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 January 2023

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Journal articles on the topic "American Photographers"

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Kaeppler, Adrienne L. "Early photographers encounter Tongans." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 209–26. http://dx.doi.org/10.1386/nzps_00038_1.

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Four early photographers are examined here in relation to their encounters with Tongans and Tonga. These photographers are Andrew Garrett, Gustav Adolph Riemer, Clarence Gordon Campbell and Walter Stanhope Sherwill. Garrett, an American natural historian who specialized in shells and fish, took two ambrotypes of Tongans in Fiji in 1868, which are two of the earliest Tongan photographs known. Riemer, born in Saarlouis, Germany, was a marine photographer on S.M.S. Hertha on an official diplomatic visit and took at least 28 photographs in Tonga in 1876. Campbell, a tourist from New York, took 25 culturally important photographs in 1902. Sherwill, a British subject born in India, moved to Tonga about the time of the First World War. He probably took many photographs with more modern equipment, but only two have been identified with certainty. This article presents information about the photographers and those depicted, where the original photographs can be found and the research that made it possible to glean cultural information from them. These early photographers are placed in the context of other more well-known early photographers whose works can be found in archives and libraries in New Zealand, Australia, Hawai‘i and Germany. In addition, summary information about two Tongan-born photographers is presented, as well as where their photographs/negatives can be found.
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Troy, Tim. "Modern American photographers." History of Photography 16, no. 1 (March 1992): 74–76. http://dx.doi.org/10.1080/03087298.1992.10442525.

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Swensen, James R. "New cartographics: Photography and the artistic mapping of the American West, 1969‐79." European Journal of American Culture 39, no. 1 (March 1, 2020): 83–104. http://dx.doi.org/10.1386/ejac_00012_1.

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This article examines the work of a diverse group of photographers who in the late 1960s and 1970s employed mapping techniques and devices as a means of artistic creation. Products of photography’s unprecedented growth, photographers John Pfahl, Michael Bishop, Kenneth Josephson and the participants of the Rephotographic Survey Project employed cartographic and topographic strategies as part of their exploration of the history of their medium and the American West. These artist-photographers, moreover, responded to the nineteenth-century surveys of the West as well as its relation to other, better-known contemporary movements like ‘New Topographics’. In all, this article provides the first exploration of this distinctive group of American photographers which may be collectively termed: ‘new cartographics’.
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De Leon, Adrian. "Frank Mancao's “Pinoy Image”: Photography, Masculinity, and Respectability in Depression-Era California." Journal of American Ethnic History 41, no. 2 (January 1, 2022): 58–94. http://dx.doi.org/10.5406/19364695.41.2.03.

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Abstract This article examines the construction of respectability politics and ethnic identity in the visual archives of Frank Mancao, a Filipino labor contractor and photographer in California. By investigating Mancao's relationship with the male Filipino farmworkers he managed and photographed, it argues that ethnic photographers and migrant workers as photographic subjects turned to the camera as a means of constructing a respectability politics to refashion a denigrated masculine Filipino identity in the American West. It begins with an investigation of Mancao's photographic practice and moves into how his work as a studio photographer provided Filipino men—including Mancao himself—opportunities to represent themselves against the popular image of the Filipino vagrant and criminal. However, this study also suggests that the “Pinoy image” crafted around the camera was not a revolutionary one; instead, the photographs reified industriousness and participation in capitalist production as the merits of good citizenship.
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Ainsworth, Alan John. "“A Private Passion”." Southern California Quarterly 101, no. 3 (2019): 317–38. http://dx.doi.org/10.1525/scq.2019.101.3.317.

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Photographer Bob Douglas’s 1940s–1990s career illustrates the race-based constraints experienced by African American photographers. Analyses of his images of jazz performers bring to light his rapport with the musicians and his sensitivity to their music and the differences between his practice and from that of white jazz photographers. His oeuvre is an important contribution to the history of both jazz and photography.
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Quirke, Carol. "Imagining Racial Equality." Radical History Review 2018, no. 132 (October 1, 2018): 96–125. http://dx.doi.org/10.1215/01636545-6942440.

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Abstract Local 65 United Warehouse Workers Union (1933–1987), which became District 65 United Auto Workers, promoted photography with a camera club, and a member-edited newspaper New Voices, featuring photographs taken by members. This left-led, New York City distributive industry union began in 1933 on the Lower East Side, and it became the city’s second largest local. The union utilized photography to normalize the role of African American members within the union and to advance a civil rights and anti-racism agenda. This article includes photographs taken by member-photographers, and photo-reproductions of New Voices. New Voices’ photographs included African Americans in the everyday life of the union, challenged race-based labor segmentation, supported community struggles, and defied racial norms in midcentury America.
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Saretzky, Gary D., and Joseph G. Bilby. "New Jersey Photographers of the Civil War and Postwar Era: John P. Doremus." New Jersey Studies: An Interdisciplinary Journal 8, no. 1 (January 27, 2022): 152–223. http://dx.doi.org/10.14713/njs.v8i1.267.

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Of the more than 3,000 photographers active in New Jersey in the nineteenth century, a number of them were itinerant camera workers at some point during their careers, operating with a horse-drawn wagon. Some photographers, especially those taking views, circulated locally even when they had a gallery where they did portraits and sold other kinds of photographs. Like many other American photographers who did not always wait for customers, John P. Doremus began working in the medium during the Civil War, when there was a strong market for portraits. Doremus is distinguished in that, for much of the latter 1870s and 1880s, he lived and worked on a floating gallery on the Mississippi River while his business back home in Paterson, Passaic County, was managed by his family. For this remarkable episode in his career, he was inducted into the National Rivers Hall of Fame in 1991. He is also exceptional in that he kept a journal in which he recorded fascinating details about his experiences. This essay provides a case study of an able and ambitious photographer and entrepreneur whose career, characterized by both typical and unique experiences, sheds light on photographic and business practices of his era. You can find additional John P. Doremus photographs here: https://web.ingage.io/6jsPH2p.
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Rule, Amy. "Archives of American women photographers." History of Photography 18, no. 3 (September 1994): 244–47. http://dx.doi.org/10.1080/03087298.1994.10442358.

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Cole, Emily. "Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955." Mutual Images Journal, no. 8 (June 20, 2020): 21–46. http://dx.doi.org/10.32926/2020.8.col.photo.

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This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consistent exchange between western and Japanese photographers through multiple platforms: interviews and round table discussions of photographic trends; articles on and photo series by western photographers; and images by both western and Japanese photographers depicting western cultural material and landscapes, such as photographs of western-style fashions, domestic space, and daily life in European and American cities. Such encounters directly influenced photographic trends in Japan. Features on European nude photographers popularised nude photography as an art form among Japanese photographers, and works contributed by the likes of Henri Cartier-Bresson, Robert Capa, and Robert Doisneau contributed to a rising interest in photographic humanism. Further, these encounters provided a conduit through which photographers and readers encountered western cultural material at a time when Japan underwent a cultural identity crisis brought on by the devastation of defeat and foreign Occupation. In this way, photography magazines simultaneously functioned as spaces that negotiated what exactly “Japanese culture” meant in Japan’s new postwar world.
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Brower, Matthew. "Trophy Shots: Early North American Photographs of Nonhuman Animals and the Display of Masculine Prowess." Society & Animals 13, no. 1 (2005): 13–32. http://dx.doi.org/10.1163/1568530053966661.

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AbstractThis essay examines the relationship between the display of non-human animal trophies and masculinity through an analysis of progressive-era American wildlife photography. In the 1890s, North American animal photographers began circulating their images in sporting journals and describing their practice as a form of hunting. These camera hunters exhibited their photographs as proof of sportsmanship, virility, and hunting prowess.
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Dissertations / Theses on the topic "American Photographers"

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Piper, William Brian. "Cameras at Work: African American Studio Photographers and the Business of Everyday Life, 1900-1970." W&M ScholarWorks, 2016. https://scholarworks.wm.edu/etd/1477068187.

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This dissertation examines the professional lives of African American studio photographers, recovering the history of an important industry in African American community life during segregation and the long Civil Rights Movement. It builds on previous scholarship of black photography by analyzing photographers’ business and personal records in concert with their images in order to more critically consider the circumstances under which African Americans produced and consumed photographs every day. During the first half of the twentieth century, urban photography studios constituted essential spaces where African Americans considered ideas of commerce, art, labor, leisure, class, gender, and group identity; “Cameras at Work” situates studio photographers in the history of photography, twentieth-century black cultural politics, and the trajectory of African American business history. The rich records of the Scurlock Studio in Washington, DC center and focus my analysis, which I develop via close comparison of the Scurlocks with a number of other professionals including Morgan and Marvin Smith, Austin Hansen, Louise Martin, and Ernest Withers. These men and women acted locally while empowering African Americans to share their own images nationally, thus contributing to the creation of a wholly American visual culture. Throughout, I treat photographs as objects through which camera operators, consumers, and viewers articulated an understanding of themselves as well as the historical moment in which they negotiated the making of the photograph.
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Gillis, Natalie Kersey. "Reconstructions : the contemporary Southern landscape by its photographers." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002736.

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Morris, Ryan K. "Understanding Involuntary Job Loss Among Former Newspaper Staff Photographers." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4174.

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This study examines former newspaper photographers' experience with being laid-off from their staff positions. The purpose was to identify emerging themes within the context of involuntary job loss, job satisfaction, and occupational identity via interviews with 8 photojournalists who experienced the phenomenon of being laid-off. The newspaper industry has long been considered both the starting point for young and aspiring photojournalism careers and the most consistent and stable venue for an income. Yet recent changes in the media landscape, particularly economic stress on traditional business models and rapid adoption of digital technology sway the occupational future of photojournalism within newsrooms. The research method employed for this study includes in-depth interviews with a hermeneutical phenomenology approach focused on involuntary job loss, job satisfaction, and occupational identity.
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Henninger, Katherine. "Ordering the façade : photography and the politics of representation in contemporary Southern women's fiction /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Plunkett, Wilma Marie. "Edith Irvine: Her Life and Photography." BYU ScholarsArchive, 1989. https://scholarsarchive.byu.edu/etd/5613.

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ln mid-1988, Brigham Young University received a high-quality collection of photographic glass plates made by Edith Irvine at the tum of the century. The plates, her camera and other photographic equipment, and miscellaneous publications were donated to BYU by her nephew, Jim Irvine. When the plates arrived and the Archives Photolab had them proofed, we realized thal not only were the San Francisco earthquake/ fire and other areas of California history recorded, but we had, in fact, the work of an outstanding photographer. As we compared the proofs with the work of other photographers who handled similar subjects, we called on faculty members qualified to judge her work. All were unstinting in their praise. As our Archives Curator, Dennis Rowley, looked at them, he said, "I've never seen a sel of photographs create a mood like these do." The more I worked with them, the greater my need to do more than just process and preserve. As I discussed the collection with the faculty members, it became evident to me that I should make a change in my graduate program. I was determined to learn more about the photographer. The collection of photographs can be viewed in the Edith Irvine Collection.
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Kachuba, John B. "The Reich photographer's tale." Ohio : Ohio University, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1057252182.

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Hammond, Anne. "The landscape photographs of Ansell Adams." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323155.

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Stoffle, Richard W., Vlack Kathleen Van, and Rebecca Toupal. "American Indians and the Old Spanish Trail Photographs." University of Arizona Libraries, Special Collections, 2008. http://hdl.handle.net/10150/295081.

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This is a slide show of selected photographs from the American Indians and the Old Spanish Trail Ethnographic Study. These photographs serve as supplemental materials for the two reports and offers illustrations of the people, places and resources.
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Stoffle, Richard W., Vlack Kathleen Van, and Sean O'Meara. "Native American Ethnographic Study of Tonto National Monument Photographs." Bureau of Applied Research in Anthropology, University of Arizona, 2013. http://hdl.handle.net/10150/293123.

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OLIVEIRA, C. B. "O ESTILO DOCUMENTÁRIO DE WALKER EVANS EM AMERICAN PHOTOGRAPHS." Universidade Federal do Espírito Santo, 2013. http://repositorio.ufes.br/handle/10/2096.

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Made available in DSpace on 2016-08-26T15:19:01Z (GMT). No. of bitstreams: 1 tese_6407_DISSERTACAO FINAL_CLERISTON BOECHAT.pdf: 275592712 bytes, checksum: bf7398cd8738a8c8dff1819f50ff0a4f (MD5) Previous issue date: 2013-04-02
Investiga o estilo documentário do fotógrafo americano Walker Evans na exposição e no livro American Photographs, de 1938. Analisa as fotografias do autor a partir de textos críticos de diversos autores, dentre eles Walter Benjamin, Michel Foucault, Rosalind Krauss, John Szarkowski e Alan Trachtenberg. Identifica e aborda as principais influências literárias e fotográficas na construção do estilo documentário: o não-aparecimento do autor defendido por Gustave Flaubert; o espírito de modernidade de Charles Baudelaire; o repertório e a abordagem direta de Eugène Atget; a construção de uma tradição fotográfica americana em Mathew Brady e em Paul Strand. Ao tratar da exposição, aborda os principais temas desenvolvidos ali pelo artista e ainda como trabalhou a sequência fotográfica contra a ideia modernista da fotografia como imagem singular e contra a pompa da expografia museográfica. Aborda a relação entre o artista e o Museu de Arte Moderna de Nova York, o MoMA, instituição que patrocinou a publicação e abrigou a mostra. Ao tratar do livro American Photographs, aborda separadamente parte um e dois da publicação, ressaltando os diferentes temas e sequências desenvolvidos pelo artista. Palavras-chave: Fotografia. Walker Evans. Estilo documentário. American Photographs. MoMA.
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Books on the topic "American Photographers"

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Ansel Adams and the American landscape: A biography. Berkeley: University of California Press, 1995.

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Les, Krantz, ed. American photographers: An illustrated who's who among leading contemporary Americans. New York: Facts on File, 1989.

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Doris Ulmann: American portraits. Albuquerque: University of New Mexico Press, 1985.

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American independents: Eighteen color photographers. New York: Abbeville Press, 1987.

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Holmes, Joseph. Natural light: American photographers collection. Berkeley, Calif: Nature Company, 1990.

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Bennett, H. H. (Henry Hamilton), 1843-1908, ed. H.H. Bennett, photographer: His American landscape. Madison Wis: Terrace Books, 2010.

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Rath, Sara. H.H. Bennett, photographer: His American landscape. Madison Wis: Terrace Books, 2010.

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Conner, Ken. Horace Bristol: An American view. San Francisco: Chronicle Books, 1996.

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Smith, Elizabeth A. T., 1958- and Museum of Contemporary Art (Chicago, Ill.), eds. Chicago (American cities). Chicago: Museum of Contemporary Art, 2006.

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Parks, Gordon. Voices in the mirror: An autobiography. New York: Anchor Books, 1992.

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Book chapters on the topic "American Photographers"

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Antola Swan, Alessandra. "Mussolini’s Early Photographs." In Italian and Italian American Studies, 215–49. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56506-0_9.

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Hannigan, John. "The most photographed place in America." In Rise of the Spectacular, 105–15. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003023548-9.

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Palacios, José Miguel. "Residual Images and Political Time: Memory and History in Chile, Obstinate Memory and City of Photographers." In New Documentaries in Latin America, 107–20. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137291349_7.

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"Norwegian-American Photographers, 1860–1960." In Pictures of Longing, 251–64. University of Minnesota Press, 2018. http://dx.doi.org/10.5749/j.ctvfjczs0.12.

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Ainsworth, Alan John. "Expressive Realism: African American Photography." In Sight Readings: Photographers and American Jazz, 1900-1960, 195–238. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384215_7.

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Ainsworth, Alan John. "Jazz Photography and Photographers, 1900– 60." In Sight Readings: Photographers and American Jazz, 1900-1960, 13–38. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384215_1.

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Ainsworth, Alan John. "Document and Realism: Early African American Jazz Photography." In Sight Readings: Photographers and American Jazz, 1900-1960, 165–94. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384215_6.

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Orvell, Miles. "Atomic War and the Destructive Sublime." In Empire of Ruins, 149–78. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190491604.003.0006.

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This chapter on atomic ruins begins with a discussion of the bomb itself and the iconic form of the mushroom cloud, which quickly emerged from photographs of the explosion. The photography of nuclear war is considered in the work of Japanese photographers like Yamahata and Matsushige, whose horrifying images of the Hiroshima and Nagasaki blasts eventually were shown in the pages of Life magazine after the ban was lifted. Edward Steichen’s celebrated Family of Man exhibition at the Museum of Modern Art is considered in terms of the image of the hydrogen bomb and its later disappearance from the book version of the show. The post-atomic response of artists like Isozaki is examined, along with American photographers who pictured the Southwest US testing grounds in stunning photographs that explored ways of imaging the unimaginable. How beautiful was the bomb itself? Michael Light’s collection of imagery and related museum exhibitions have shown us the ambiguities of viewing the Destructive Sublime.
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Ainsworth, Alan John. "Expression in the Jazz Image." In Sight Readings: Photographers and American Jazz, 1900-1960, 87–118. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384215_4.

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Ainsworth, Alan John. "Jazz in the Portrait Studio." In Sight Readings: Photographers and American Jazz, 1900-1960, 119–64. Intellect Books, 2021. http://dx.doi.org/10.1386/9781789384215_5.

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Conference papers on the topic "American Photographers"

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Marfella, Giorgio. "Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4000pi5hk.

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Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building. The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII. Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.
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Hunsucker, J. Travis, Harrison Gardner, and Geoffrey Swain. "Using Hydrodynamic Testing to Assess the Performance of Five Fouling Control Coatings Immersed at Two Field Sites along the East Coast of Florida." In SNAME 30th American Towing Tank Conference. SNAME, 2017. http://dx.doi.org/10.5957/attc-2017-0008.

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Static immersion studies are commonly used to assess the performance of fouling control coatings. While these tests provide valuable data, it is also of importance to understand the drag forces associated with the accrued fouling communities and the velocities required for fouling removal. Combining the measurements of hydrodynamic testing with those from static immersion testing can help in predicting the performance of coatings prior to their consideration for use on Navy vessels. Replicates of five commercially available coatings (three fouling release coatings and two biocide based coatings) were deployed at two static immersion test sites located along the east coast of Florida (Port Canaveral and Sebastian Inlet). After four months of immersion, the panels were removed, photographed, subjected to known water velocities in a high-speed boat modified for hydrodynamic testing. Each panel was run at 5 m/s for 10 minutes, photographed, and then run at 10 m/s for 10 minutes. The drag forces were measured at speeds of 3, 6, 8.8 and 10 m/s for 1 minute each. Photographs taken before, during, and after hydrodynamic testing were also visually analyzed. After testing adhesion measurements were taken to determine the attachment strength of any hard fouling organisms which remained on the panels. The data collected from this series of tests, enabled the fouling control and fouling release properties of each coating to be characterized.
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Bernal, L. "Ultrarapid plasma photographs with convergent beams." In IV Iberoamerican Meeting of Optics and the VII Latin American Meeting of Optics, Lasers and Their Applications, edited by Vera L. Brudny, Silvia A. Ledesma, and Mario C. Marconi. SPIE, 2001. http://dx.doi.org/10.1117/12.437074.

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Mohanty, Vikram, David Thames, Sneha Mehta, and Kurt Luther. "Supporting Historical Photo Identification with Face Recognition and Crowdsourced Human Expertise (Extended Abstract)." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/660.

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Identifying people in historical photographs is important for interpreting material culture, correcting the historical record, and creating economic value, but it is also a complex and challenging task. In this paper, we focus on identifying portraits of soldiers who participated in the American Civil War (1861-65). Millions of these portraits survive, but only 10-20% are identified. We created Photo Sleuth, a web-based platform that combines crowdsourced human expertise and automated face recognition to support Civil War portrait identification. Our mixed-methods evaluation of Photo Sleuth one month after its public launch showed that it helped users successfully identify unknown portraits.
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Bertoldi, Cristiane Aun, and Daniela Kutschat Hanns. "Using Photographs of Physical Models to Visualize Design Opportunities and Problems." In XIX Congresso da Sociedade Ibero-americana de Gráfica Digital 2015. São Paulo: Editora Edgard Blücher, 2015. http://dx.doi.org/10.5151/despro-sigradi2015-sp110016.

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Collados, M. V., J. Atencia, A. M. Villamarín, M. P. Arroyo, M. Quintanilla, Niklaus Ursus Wetter, and Jaime Frejlich. "Analysis of PIV photographs using holographic lenses in an anamorphic white light Fourier processor configuration." In RIAO∕OPTILAS 2007: 6th Ibero-American Conference on Optics (RIAO); 9th Latin-American Meeting on Optics, Lasers and Applications (OPTILAS). AIP, 2008. http://dx.doi.org/10.1063/1.2926875.

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Gorsky, Nikita, and C. F. Peter Bowen. "Improving Semi-Dry Scrubber Performance Through Gas Flow Modeling." In 13th Annual North American Waste-to-Energy Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/nawtec13-3156.

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Poor flue gas flow distribution in the semi-dry scrubbers used in Waste-to-Energy facilities can cause reduced residence time for lime slurry spray droplet evaporation and subsequent “wet carryover” resulting in solids deposits on the scrubber vessel walls and ductwork and also baghouse bag blinding. In addition to promoting corrosion, the removal of deposits during boiler outages is very labor intensive. This paper identifies how gas flow modeling conducted in conjunction with Nels Consulting Services, Inc. on several different types of scrubbers at Covanta Energy’s Waste-to-Energy facilities resulted in modifications which increased the actual flue gas residence time, considerably reduced the solids deposits (scale) and associated maintenance costs, and in some cases reduced the pressure drop across the scrubbers and baghouses. The data presented includes typical model study velocity distribution data (before and after the modifications), vessel sketches, and photographs. Associated work included in-field scrubber outlet duct temperature and velocity distribution testing. The results of the in-field scrubber outlet temperature distribution testing, done both before and after the scrubber modifications, confirmed the improvements numerically by showing reduced flue gas temperature variation in the scrubber outlet duct.
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Jan, Šejbl. "Hříšná exotika A. V. Nováka Literární obraz cesty do Asie v letech 1926–1927." In Orientalia antiqua nova XXI. Západočeská univerzita v Plzni, 2021. http://dx.doi.org/10.24132/zcu.2021.10392-120-144.

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Sinful Exotics of A. V. Novák Literary image of a journey to Asie in 1926–1927 Traveller and writer Archibald Václav Novák (1895–1979) rose to fame in the 1920s as the author of popular nov els and short stories inspired by a stay in Tahiti and the United States of America from 1919 to 1921. Sucesess of books and lectures allowed Novák to undertake another long journey. From October 1926 to April 1926 A. V. Novák visited Sri Lanka, India, Myanmar, Malaya, Singapore, Sumatra, Vietnam, Cambodia, China and Japan. After returning home, Novák organized public lectures and published new novels and short stores inspored by the places he visited and the people he met. He also wrote a four-volume travelogue based on his travel diary. On his journey, Novák took not only still photographs, but short movies as well. After the communists took power in Czechoslovakia in 1948, Novák was purged from public life. No longer heralded as either a traveller or a writer, he was virtually consigned to oblivion. It was not until after 2000 that a study of the phenomenon of Czecho slovak emigration to Tahiti kindled renewed interest in him. In 2010, some of Novák’s previously unknown pho tographs were discovered and donated to the Náprstek Museum’s photographic collection, which is a part of the National Museum in Prague. Movies, diaries and the most of negatives by A. V. Novák have not been preserved, but there is a large number of glass slides used as an accom paniment of lectures. Photographic collection and books by A. V. Novák offer a valuable source of information about the non-Europen countries in 1920s and the ways, how they were presented to public in Czechoslovakia.
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Cohn, Marvin J., Robert J. Gialdini, and Osborne B. Nye. "High Energy Piping Walkdowns in Compliance With ASME B31.1." In ASME 2021 Pressure Vessels & Piping Conference. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/pvp2021-62533.

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Abstract This paper discusses high energy piping (HEP) system walkdown requirements and guidelines in compliance with the American Society of Mechanical Engineers (ASME) B31.1 Code. Chapter VII states that the Operating Company shall develop and implement a program requiring documentation of piping support readings and recorded piping system displacements. Guidelines for this program are provided in Nonmandatory Appendix V, para. V-7. The Code also requires that the Operating Company shall evaluate the effects of unexpected piping position changes, significant vibrations, and malfunctioning supports on the piping system’s integrity and safety. These requirements and guidelines have been developed for personnel safety and piping system reliability. The HEP system should be maintained to behave as expected in the original design analysis unless a field change is justified by qualified personnel. The walkdown program should be an integral part of an asset integrity management program, including observations, documentation, evaluations, corrective actions, and countermeasures. A thorough HEP system walkdown includes more than documented hanger readings. It should include visual assessments of possible sagging pipe, unusual pipe slopes, building structure damage, lagging/insulation damage, locked spring hangers, piping interferences, damaged spring coils, loose/missing support fasteners, unloaded rigid supports, bent struts, insufficient hydraulic fluid in snubbers, detached Teflon strips on sliding supports, and confirmation that the current supports are consistent with the original design specifications. If accessible, it should be confirmed that there are no gaps in the sliding supports. This paper illustrates that it is now possible to photographically document spring support position indicator readings from distances up to 30 feet (9.1 meters). Photographic documentation provides higher confidence in the position indicator readings and can resolve many visual documentation discrepancies, such as incorrect support readings, readings from opposite position indicator sides, and parallax issues. If accessible, closer inspections may confirm if a spring support is in fact internally bottomed-out or topped-out. Nonmandatory Appendix V provides recommended hot walkdown and cold walkdown forms. These forms provide additional space for applicable notes. Example photographs of many piping system anomalies and associated documentation are provided in this paper. ASME B31.1 requires that significant displacement variations from the expected design displacements shall be considered to assess the piping system’s integrity.
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Geambazu, Serin. "Dynamics of public urban waterfront regeneration in Istanbul. The case of Halic Shipyard Conservation." In 55th ISOCARP World Planning Congress, Beyond Metropolis, Jakarta-Bogor, Indonesia. ISOCARP, 2019. http://dx.doi.org/10.47472/rqqr4119.

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In the process of globalization, building on the particular spatial scenery of the waterfront, cities tend to refresh their strategies of development to adapt new trends of urban life with huge urban waterfront regeneration projects. These usually focus on a target of maximum marketing and construction of a new image-vision, which aims to represent the city in the global agenda. This aspect is depending on bigger changes in the urban context, the shift in government structures to entrepreneurial forms that involve externalization of state functions (Swyngedouw 2005; p. 1998). The rationale behind the phenomenon of waterfront regeneration and the global embracement of it is now “widely recognized if incompletely understood" (Hoyle 2001 pp. 297), as the relevant literature is based on case studies with focus on the examples of North American and European cities. The goal is to contribute to the more general, theoretical contention of urban waterfront regeneration in developing countries in understanding their dimensions in terms of governance and planning. The research tackles urban waterfront regeneration in Istanbul, Turkey by studying the most recent initiative of urban waterfront regeneration along Halic /The Golden Horn, the Halic Shipyard Conservation Project. The theoretical framework that underpins this study is derived from the discourse on new forms of urban governance including private, public and civic actors (Paquet 2001) that influence planning processes and project outcomes. To evaluate the planning process from a comprehensive governance perspective, indicators include: the legal framework, decision-making process, actors and their relations (Nuissl and Heinrichs 2010) and as normative the perspective of an inclusive planning approach (Healey 1997, 2006) helps to evaluate the planning process of the project. As urban waterfront regeneration literature is mostly based upon case study approaches, a critical overview of international examples is conducted. Both primary and secondary data is collected through: literature review, review of laws, review of official documents and land-use plans, an internship, 31 interviews, 91 questionnaires, participatory observation, a workshops, observation and photographs. The aim is to assess to which extend the top-down governance forms, but also bottom-up grass root empowerment influence the planning process and project outcomes, giving recommendations for an inclusive planning approach. The second aim is to evaluate the urban waterfront regeneration project studying its impact on the neighboring community. Bedrettin Neighborhood is chosen for analysis and its position in the planning process along with its needs are exposed. The thesis argues the modes in which along with clear targets for the improvement of the quality of life for the neighboring community, the urban waterfront regeneration project, Halic Shipyard Conservation Project, will be able to escape the current deadlocks and collisions between government, investors, resistance and local community and might have a chance to actually set an urgently needed precedent of a new planning culture in Istanbul.
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Reports on the topic "American Photographers"

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Karlstrom, Karl, Laura Crossey, Allyson Matthis, and Carl Bowman. Telling time at Grand Canyon National Park: 2020 update. National Park Service, April 2021. http://dx.doi.org/10.36967/nrr-2285173.

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Grand Canyon National Park is all about time and timescales. Time is the currency of our daily life, of history, and of biological evolution. Grand Canyon’s beauty has inspired explorers, artists, and poets. Behind it all, Grand Canyon’s geology and sense of timelessness are among its most prominent and important resources. Grand Canyon has an exceptionally complete and well-exposed rock record of Earth’s history. It is an ideal place to gain a sense of geologic (or deep) time. A visit to the South or North rims, a hike into the canyon of any length, or a trip through the 277-mile (446-km) length of Grand Canyon are awe-inspiring experiences for many reasons, and they often motivate us to look deeper to understand how our human timescales of hundreds and thousands of years overlap with Earth’s many timescales reaching back millions and billions of years. This report summarizes how geologists tell time at Grand Canyon, and the resultant “best” numeric ages for the canyon’s strata based on recent scientific research. By best, we mean the most accurate and precise ages available, given the dating techniques used, geologic constraints, the availability of datable material, and the fossil record of Grand Canyon rock units. This paper updates a previously-published compilation of best numeric ages (Mathis and Bowman 2005a; 2005b; 2007) to incorporate recent revisions in the canyon’s stratigraphic nomenclature and additional numeric age determinations published in the scientific literature. From bottom to top, Grand Canyon’s rocks can be ordered into three “sets” (or primary packages), each with an overarching story. The Vishnu Basement Rocks were once tens of miles deep as North America’s crust formed via collisions of volcanic island chains with the pre-existing continent between 1,840 and 1,375 million years ago. The Grand Canyon Supergroup contains evidence for early single-celled life and represents basins that record the assembly and breakup of an early supercontinent between 729 and 1,255 million years ago. The Layered Paleozoic Rocks encode stories, layer by layer, of dramatic geologic changes and the evolution of animal life during the Paleozoic Era (period of ancient life) between 270 and 530 million years ago. In addition to characterizing the ages and geology of the three sets of rocks, we provide numeric ages for all the groups and formations within each set. Nine tables list the best ages along with information on each unit’s tectonic or depositional environment, and specific information explaining why revisions were made to previously published numeric ages. Photographs, line drawings, and diagrams of the different rock formations are included, as well as an extensive glossary of geologic terms to help define important scientific concepts. The three sets of rocks are separated by rock contacts called unconformities formed during long periods of erosion. This report unravels the Great Unconformity, named by John Wesley Powell 150 years ago, and shows that it is made up of several distinct erosion surfaces. The Great Nonconformity is between the Vishnu Basement Rocks and the Grand Canyon Supergroup. The Great Angular Unconformity is between the Grand Canyon Supergroup and the Layered Paleozoic Rocks. Powell’s term, the Great Unconformity, is used for contacts where the Vishnu Basement Rocks are directly overlain by the Layered Paleozoic Rocks. The time missing at these and other unconformities within the sets is also summarized in this paper—a topic that can be as interesting as the time recorded. Our goal is to provide a single up-to-date reference that summarizes the main facets of when the rocks exposed in the canyon’s walls were formed and their geologic history. This authoritative and readable summary of the age of Grand Canyon rocks will hopefully be helpful to National Park Service staff including resource managers and park interpreters at many levels of geologic understandings...
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Idaho National Engineering and Environmental Laboratory, Old Waste Calcining Facility, Scoville vicinity, Butte County, Idaho -- Photographs, written historical and descriptive data. Historical American engineering record. Office of Scientific and Technical Information (OSTI), December 1997. http://dx.doi.org/10.2172/665968.

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