Relevant bibliographies by topics / Photographic interpretation

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

Academic literature on the topic 'Photographic interpretation'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Photographic interpretation"

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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.

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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed the path of the gold miners into the hinterland of the South Island aware of its potential commercial photographic value. Photographers understood the “great public interest in what the colony looked like and inthe potential for features that would command international attention”2. Photography was promoted as presenting the world as it was, free of the interpretation of the artist. By the early 1880s the Hart, Campbell portfolio was extensive and their work featured at exhibitions in London, Sydney and Melbourne. Yet their photographs were criticised for fakery and William Hart’s photograph of Sutherland Falls, ‘the world’s highest waterfall’, promoted a quite inaccurate claim.
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Likhacheva, Alexandra S. "Landscapes of Galicia as Viewed through the Camera: Visualization of Belligerent Spaces of the First World War." Izvestia of the Ural federal university. Series 2. Humanities and Arts 26, no. 1 (2024): 36–57. http://dx.doi.org/10.15826/izv2.2024.26.1.003.

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This article analyses practices of capturing the experience of the First World War on the Eastern Front and the construction of militarized life worlds by combatants of the Russian Army and photojournalists. The author aims to determine the significance of the belligerent landscapes of Galicia in the formation of participants’ specific behavioural strategies and practices in the first industrial war. Methodologically, the author relies on the synthesis of approaches of spatial research and visual anthropology, conceptual provisions of landscape studies, and cultural geography. To analyse the photographic situation on the Eastern Front of the First World War, the peculiarities of the further existence of visual images in group and collective communication, identify techniques for constructing the image of the Galician environment in 1914–1915, the author refers to photographic sources of the Russian State Archive of Film and Photographic Documents. A key thesis of the study is the assumption that through the practice of photographing militarized landscapes, mental maps of alien space were constructed, and the imaginary appropriation of the territory annexed by the law of war took place. As a result, the author concludes that the landscapes of Galicia in photographs are a phenomenological construct, and not a direct reflection of reality or objective evidence. The photographic situation itself acts as an interpretation because photographers follow the imperatives of their own (prewar) life experience, the ideas formed by the prevailing discourses, consider the technical limitations of the era and shocking experiences in the spaces of death. The author also reveals the therapeutic function of war visualization and the role of the camera as a protective barrier for the photographer. The analysis determines the dynamic relationship of strategies for capturing military experience with the course of hostilities, as well as the need to study photographic albums dedicated to the life of individual units of the Russian Army or representing a series of images in a particular locality of Galicia as a whole and consistent photographic travelogue. The modern interpretation of military photographs makes it possible to reveal a layer of environmental consequences of the First World War in Eastern Europe which is latent for the photographer.
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Baird, Jean. "Photography without Pictures." Arts 13, no. 1 (January 18, 2024): 17. http://dx.doi.org/10.3390/arts13010017.

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Magic, as an emanation of past presence in a picture, emerges as a theme in postmodern theories of photography. It is linked to various forms of actual and symbolic absence; an absence which creates a space that keeps us looking, ostensibly for something that is lost. Photography may not always have been digital, but it has always been magical. Photography Without Pictures explores the critical dialogue and disciplinary uncertainty around the terminology of an expanded photographic that derived from debates surrounding the proliferation of digital media and the previous, ontological question of the nature of photography as a technology and a pictorial medium. It is prompted by Andrew Dewdney’s conviction that in order to deal with the contemporary condition of the networked screen image, we need to “Forget Photography” (2021). Dewdney considers the paradox that while photography is now ubiquitous, it is also peculiarly and magically undead, a simulation at the behest of mutable electronic data. The article examines three instances of critical response to contemporary photography, including the interpretation and response to several photographic artworks and one simulated photograph, to distinguish characteristics of pictoriality, authorship and temporality in photographic pictures. In asking what it means to be a real photographer, we discover that the singular observer/artist has become a crowd in respect of the image sharing culture of post-internet art. Throughout his polemical argument to Forget Photography, Dewdney prefers to use the term image and imagery to refer to both the photographic and the networked image. The terms picture and image tend to be interchangeable in language and inhabit each other in practice, yet there are historical differences and continuities that make the distinction remarkable in considering questions of ontology and media continuity. Pictorial, temporal and illusory ‘magic’ are the themes through which these photographic uncertainties unfold.
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Aksenova, N. V., N. V. Denisova, and N. O. Magnes. "COUNTERFACTUAL SOVIET PHOTOGRAPHY THROUGH THE LENS OF AMERICAN AND BRITISH ART CRITICS: EVALUATIVE DIMENSIONS OF ART DISCOURSE." Voprosy Kognitivnoy Lingvistiki, no. 1 (2023): 40–51. http://dx.doi.org/10.20916/1812-3228-2022-1-40-51.

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The paper studies the axiological interpretation of Soviet photographs in British and American art reviews by examining the basic concepts STATE, ARTIST, and WORK OF ART. The analysis draws on the methods of cognitive discourse analysis, narratology, pragmatics, and semantics. Accepting R. Barthes’ view of the photograph as “a message without a code”, we hold that the main goal of art discourse is to construct an intermediary code to facilitate communication between the Operator and the Spectator, especially in the presence of a time/culture gap between the two. Through aesthetic distancing, art reviewers shift the axiological focus from the ethical implications of Soviet photographs towards their aesthetic value, encouraging a transcultural and transtemporal dialogue between the reader/viewer and the photographer. The analysis has enabled us to expand the framework of photographic roles (Operator, Spectrum and Spectator) suggested by Barthes and later complemented with the role of the Demonstrator, which is central to this study. The role of the Emptor, added here to the Barthian set of core roles, emerges as the ultimate role of the Soviet state vis-à-vis photography.
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Andrey S., Mukhin. "The synthesis of socio-cultural and technical-technological causality of realism in photography." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 66–74. http://dx.doi.org/10.30725/2619-0303-2022-1-66-74.

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The article presents the analysis of realistic images in photography as a concept and phenomenon. The author considers realism as a method that allows creating recognition of the surrounding world in photographic images. Reality is understood as reality, which is technically possible to record with photographic equipment. Much attention is paid to the development of photographic technology and its influence on the idea of realism in photography. The point of view is given, according to which the realism of the photographic image is conditioned by the liberal-democratic progress of society: the emergence of freedom of movement, mass tourism industry, leisure, hobbies, the appearance of affordable photographic equipment. Realism in the article is described in the categories of the literal presentation of reality, as photographic naturalism, tied to the optical perfection of the image. The development of amateur photography is interpreted in close connection with scientific and technological progress in the photo department, where design solutions are aimed at improving the optical performance of the image, but not at the possibility of artistic interpretation of the image. The mass amateur photographer and the modern user of digital equipment are considered in the article as conductors of a strictly limited model of understanding the realism of the image. This model is replete with figurative cliches and technical cliches, implemented not so much by the «photographer» himself, as by a computer program and its «ideas» about reality and realism.
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Andergassen, Lisa. "Digging Up the Narrative: Forensic Practices between Objectivity and Interpretation." Membrana Journal of Photography, Vol. 1, no. 1 (2016): 48–51. http://dx.doi.org/10.47659/m1.048.art.

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Photography traditionally generates a truth-claim, while at the same time undermining it by holding the potential of being altered or staged. Since the rise of digital techniques, we are facing different (and easier) ways to manipulate pictures, leading to the notion of the digital photograph as generally mutable and therefore not trustworthy. But as there have been more and easier ways to “manipulate” photographs, so has there been an increase in the ways to detect them. Which today puts digital forensics in the position of re-establishing “reality” as a referential point by tracing every step of the process of alteration, turning the dubitative image into one that is doubt-free once its metadata has been analysed. But is this the whole story? By addressing digital forensic practices that have been used within the investigation of the Abu Ghraib torture scandal, I am showing that the hidden narrative of photographic production can be dug up by using forensic methods, but not without creating a new narrative.
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Poluektova, Tatiana A. "Afterimage by H. Humphreys as a Photoreconstruction Novel: Genre Peculiarities." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 69–81. http://dx.doi.org/10.15826/izv2.2022.24.2.025.

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This article is devoted to the study of the peculiar genre features of Afterimage (2000), a novel by the English-born Canadian writer Helen Humphreys. The author of the article introduces the definition of the concept of photographic ekphrasis, i.e. a description in the text of a photograph that is the subject of a character’s reflection or the result of a collaboration of the photographer and the model. The photographic discourse penetrates the plot-compositional, character, space-time, and narrative levels of the poetics of the novel. Starting with the analysis of the title of the novel, the author of the article concludes about the decisive role of photography in the genre structure of the novel. This makes it possible to introduce the term “photoreconstruction novel” and categorise the novel analysed as belonging to this type. This genre form implies a number of characteristic features: the presence of protophotographic ekphrasis (the existence of a real photographic prototype in culture defined by the reader on the basis of secondary cultural experience (this term is introduced for the first time)); the novel is set in a period remote from the modern times, as a rule between the mid-nineteenth and early twentieth centuries; the main character is a photographer-reconstructor of a myth / mythological image; supported by the motif of theatricalisation (“the character of being staged”). Particular attention is paid to the link of allegorical photographic works of the English Victorian photographer J. M. Cameron and photographic ekphrases in the novel by H. Humphreys. The organic synthesis of two types of art — artistic words and photographic art — forms intermediate connections in the novel, expanding the field of interpretation and implying an active role of the reader. Humphreys’ Afterimage based on the genre structure of a photographic ekphrasis fits into the context of the phototextual English-language novel of the late nineteenth — early twenty-first centuries.
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Soyref, Polina G. "The Test of Photography." Koinon 3, no. 2 (2022): 86–105. http://dx.doi.org/10.15826/koinon.2022.03.2.018.

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This article aims to substantiate the interpretation of photography as a tool, artifact, and practice using the concept of test. The concept of test is chosen due to its complex semantic and functional meanings: to test is to check for durability, to find the truth; to be tested is to gain experience. In line with the double meaning o the genitive — we test the photograph, and the photograph tests us — (mutual, bidirectional testing), the article introduces the following headings: “The Test of Strength”, “The Test of the Viewer”, “The Test of the Gaze”, “Body Experience: Tested by the Gaze”, “The Test of Language”, and “The Test of Credibility”. The author’s position is to shift the focus from talking about photography as such to the possibilities of experience that it offers. The implementation of the approach relies on the dual nature of photography: the technical side of the genesis of the photographic image and photographic dualism of studium and punctum (R. Barth). Photography is at the junction between the subjective view of the choice of frame, and the technical registration of reality, which excludes the subject from the process of this registration. This juxtaposition of the subjective and the non-subjective in photographic practice determines the research topics presented in this article. The photographic image remains completely autonomous, not connected to human intervention, and this statement contributed to the introduction of the concept of the solid frame, which has the maximum potential for effect. A solid frame is an independent artifact that can last in the perception and memory of the viewer and create its field of meaning. The nature of the viewer’s particular fascination with photography is explored. The properties of photography —the claim to persuasiveness and the actual power of “lasting” photography — allow us to influence those looking at it (it doesn’t matter if it is the viewer or the photographer): we know that “it was”, we are in the field of the artifact that goes beyond its actual borders, we experience its content beyond cultural, artistic, linguistic boundaries. Photography turns out to be a practice that actualizes, intensifies, or transforms the experience of interacting with reality, a tool that allows us to experience it more intensely than in everyday life.
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Lewis, Abigail E. "Collaboration in Focus." French Politics, Culture & Society 40, no. 3 (December 1, 2022): 73–98. http://dx.doi.org/10.3167/fpcs.2022.400304.

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Abstract This article examines the collaboration trials of French photographers André Zucca (1944–1945) and Robert Delhay (1947–1949) within the context of the postwar French state's attempts to punish collaboration and rehabilitate the French press. Paying attention to the interpretation of photographs as evidence, I argue that within the post–Liberation French courtroom, photographic evidence became crucial to narrating collaboration and resistance as a means of gaining re-acceptance into the profession and escaping legal charges. However, photographs proved too complicated to clearly prove either collaboration. Photographers disputed the charges against them by offering new interpretations of their photographs. These new readings were rooted in a postwar visual culture that had been saturated with photographs as historical evidence of Nazi atrocities, French victimization, and resistance. This article details how the collection and display of photographic evidence in these court proceedings informed the emergence of a postwar photographic press steeped in résistancialisme.
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Tsyba, Viacheslav. "Reviving trace: photographic image within the treatment of pain experiences." NaUKMA Research Papers in Philosophy and Religious Studies, no. 11-12 (November 15, 2023): 29–45. http://dx.doi.org/10.18523/2617-1678.2023.11-12.29-45.

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Recognition the importance of other people’s experiences is one of the urgent philosophical problems. If by the middle of the 19th century people encountered painful experiences of others directly or through witnesses, since then after the advent of media technologies, the role of the witness was replaced by the anonymous visual. Visual images are formations whose structure avoids ambiguity and creates a field for multiple interpretations. This duality is well reflected by the nature of the photographic image. It is characterized by a dialectical tension: on the one hand, capturing someone’s painful experience the photograph represents the mental state of a person, but on the other hand, it raises the question of an unambiguous attitude towards it. The ambiguity of the photographic image yields a dilemma: either to accept what we see on faith and base our moral discussion of events on it alone, or to analyze the action of the forces hidden in the work of the photographic image. To talk about photographing suffering means to declare a certain ethical and political position. The case of the photograph problematizes the requirement of ethical involvement, because the photograph can simply be ignored. The article shows how the photographic image communicates the criteria, using which a perceiver is able to fit what he sees into the context of his own political and social world. Having performed the act of recognition, a perceiver is able to politicize human life as an irreplaceable value. In such acts, he actualizes his own subjectivity through the recognition of the photographic image as a part of common shared reality. He perceives the signs of someone else’s pain in the photo as a reason to reflect on human vulnerability. For this, the perceiver must carry out a complex procedure of image interpretation, stripping it off anonymous universal features.
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Dissertations / Theses on the topic "Photographic interpretation"

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Davey, Gerald John. "Understanding Photographic Representation : Method and Meaning in the Interpretation of Photographs." Diss., University of Iowa, 1992. https://ir.uiowa.edu/etd/5372.

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The "linguistic turn" in early twentieth-century philosophy established that through language we not only live in a world but create it as well. Language, in this sense, incorporates the entire range of media and cultural artifacts through which we create and share meaning. In contemporary post-industrial societies, photographic images play a central role in communicating and creating the world in which we live. In part, this increasingly visually oriented culture is possible because we tend to equate what we see in photographs with what is real. Photographs, however, bring to light a vision of the world, not the world itself. From the inception of photography, traditions of aesthetic interpretation have challenged this dominant view. Here, the created image becomes a vehicle for the artist's unique expression. Proponents of social scientific and critique of ideology perspectives, however, reject the aesthetic view and typically see art objects as social constructs, instruments which enhance and maintain a certain social order. Each of these perspectives ultimately holds that the meaning of photographs can be determined objectively. At the same time, each presents a world view which tends to exclude the insights of the others. Any attempt to preserve the apparent insights of these views must, then, transcend the basic contradictions and incompatibilities between them. Philosophical hermeneutics holds that the presumption of an absolute, objective grounding represents a failure to grasp the nature of the path toward understanding, a path which can never arrive at its destination because it always exists in history. It argues that (1) the photograph cannot be transparent to the world for the world is constituted in our representations of it; (2) art is a creation whose origin and meaning always exceeds the artist's own understanding of it; (3) critique is not the application of universal reason but a reading from a particular vantage point and is always grounded in a tradition of its own. Most importantly, however, it calls us to recognize the participatory nature of all understanding, the universality of language and provides a criterion for assessing the relative value of our interpretations across the entire language world.
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Brimicombe, A. J. "Uncertainty and fitness-for-use in handling aerial photographic interpretive data in geographical information systems." Thesis, Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14394820.

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Davis, Pete. "An investigation of the photographic interpretation of woodland and forests." Thesis, Aberystwyth University, 2008. http://hdl.handle.net/2160/7d4e88cc-c4a9-4b6e-9d0e-5867f91388ad.

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This thesis investigates the visual interpretation of one particular landscape motif – woodland and forests. The primary research was undertaken through the production of a major body of photographic work, which has been published in both exhibition and book form. A compact disc containing images of the exhibition installation is included here. The thesis sets out to contextualise and interrogate the practical work through a series of sections that begin with a chronological autobiographical account of the influences that have shaped the artist’s creative ideas and responses to the landscape. An overview of the history of the representation of trees and forests in both western and eastern societies places the work in an historical and social context. The painting and photographic artistic traditions are discussed. The practical methodologies are discussed, including the technical aspects of the equipment and materials selected to make the images through which the primary research was conducted. The subsequent production, publication and public display of the finished practical work was a major element, which led to the interpretation of the research and this is discussed in detail. The outcome of this work is then interrogated in depth, and how the various locations photographed and the strategies adopted, succeeded in the research objective of expressing a wide range of responses to the landscape via the interpretation of one motif.
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Ho, Hoi-yan. "Application of aerial photograph interpretation in geotechnical practice in Hong Kong." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B42577585.

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Park, Keith Marron. "The global-to-local search method: A systematic search procedure that uses the context of the textured layout to locate and detect low-contrast targets in aerial images." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/700.

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Ho, Hoi-yan, and 何凱欣. "Application of aerial photograph interpretation in geotechnical practice in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B42577585.

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Dorfling, Aletta. "Beeld se gedagtes : 'n alternatiewe benadering tot die voorstellingsfunksie van die fotobeeld." Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5401.

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Thesis (MA (Visual Art))--University of Stellenbosch, 2010.
AFRIKAANSE OPSOMMING: Hierdie tesis is bemoei met die wyse waarop die fotobeeld konvensioneel aan 'n mimetiese kode van "gedrag" onderhewig is, met die gevolg dat alternatiewe voorstellingsfunksies dikwels buite oorweging gehou word. 'n Interessante area van ondersoek word blootgestel wanneer die komplekse verhouding tussen die toeskouer en beeld betrek word om die broosheid van eersgenoemde se agentskap in die waarnemingproses te beklemtoon. Dit is dus vanuit hierdie gewaarwording dat ek my bespreking van die fotobeeld grotendeels binne 'n psigoanalitiese raamwerk situeer en aan die hand van konsepte soos Einfühlung, die Lacanian Real en John Dewey (2005) se teorie van kuns as ervaring, bespreek. Die skynbaar teenstrydige aard van die fotobeeld as (onder andere) beide mimetiese realiteitskopie en piktoriale fiksie, ooglopend onafhanklik van taal en eweveel deurspek met diskursiewe vertolkings, openbaar volgens my egter die ideale vertrekpunt vanwaar fotografie se voorstellingsfunksie heroorweeg kan word. Dié opponerende tweespalt, wat as kenmerkende karaktertrekke van die fotobeeld na vore tree, noop die toeskouer om die beeld met 'n verhoogde sensitiwiteit te benader – met die gevolg dat die foto se onlosmaaklike skakel met "haar"1 diskursiewe grense en aptyt vir die "onsêbare" as konstruktiewe koalisie gesien word. Die fotografiese werk van Lien Botha, veral haar Amendment–reeks (2006) en Parrot Jungle (2009), sal deurentyd as visuele bevestiging van my argumente betrek word.
ENGLISH ABSTRACT: This thesis is concerned with the way in which the photographic image has conventionally been subject to a mimetic code of "behaviour", resulting in the marginalization of alternative, representational functions. An interesting area of study is, however, laid bare when the complex relationship between the viewer and image initiates a discussion around the former's wavering position as autonomous agent within the observation process. Using this awareness as a point of departure, my discussion will be primarily situated within a psychoanalytic framework by focusing partly on concepts like Einfühlung, the Lacanian Real and John Dewey's theory of art as experience. An apparent dualistic rivalry, that situates the photo-image simultaneously as a mimetic agent of reality and pictorial fiction, apparently devoid of language and equally riddled with discursive interpretations, serves furthermore as an ideal complication of the photograph's conventional, representational function. These opposing "forces", recognizable as a typical characteristic of the photographic image, subtly challenges the viewer to regard it with a heightened sensitivity – resulting in an awareness that the photograph's inseparable bond with its discursive boundaries, and appetite for the "unrepresentational", does in fact represent a constructive coalition. The photographic work of Lien Botha, especially her Amendment-series (2006) and Parrot Jungle (2009) will serve as a visual emphasis of my arguments.
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Rengel-Aviles, Luis E. "Visual landsat analysis in land cover inventory in a topical country (Venezuela)." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/454814.

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The purpose of this study was to evaluate three sources of geographical information, False Color Composite, Band 5 and Band 7 images of Satellite LANDSAT-2, applied in the detection and delimitation of land cover areas in a case study in the Republic of Venezuela. Previous bibliographic references stated the existence of deciduous, semi-deciduous and evergreen woody vegetation communities in different stages of openess (forest, woodlands, shrublands and thickets) and grasslands, in addition to some kinds of tropical agricultural practices (grazing and cropping areas). The identification of these land cover types was accomplished by visual discrimination of colors in the FCC image and of tones in the Bands 5 and 7. FCC image gave the most complete identification of vegetation communities, agricultural practices and burned areas. Band 7 provided the most accurate delimination of burned areas, water bodies and evergreen forest. Band 5 permited the clearest identification of stages of openess in the vegetation.
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Lenzini, Vanessa Sobrino. "Noções de moderno no Foto-Cine Clube Bandeirante : fotografia em São Paulo : (1948-1951)." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/282034.

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Orientador: Iara Lis Franco Schiavinatto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-10T11:05:26Z (GMT). No. of bitstreams: 1 Lenzini_VanessaSobrino_M.pdf: 21020362 bytes, checksum: 09ef2c71241d6ab90f34e88ea198be1c (MD5) Previous issue date: 2008
Resumo: O presente estudo apresenta uma coletânea de artigos sobre fotografia, publicados entre 1948-1951 no Boletim do Foto-Cine Clube Bandeirante (FCCB), fundado em 1939, em São Paulo. Esses artigos trazem um debate sobre a fotografia enquanto representação artística, inspirada nos parâmetros do pictorialismo, que divulgavam um modo de atualização da fotografia enquanto arte. Acompanhando a coletânea, este estudo pretendeu matizar as idéias dos artigos, levantando as noções que embasaram a produção fotográfica do FCCB a se projetar como 'moderna' no circuito artístico e cultural da cidade de São Paulo. Procurou-se identificar as disputas e as intenções que uma produção possui ao se divulgar como parte 40 moderno. Em sua maioria, os artigos que compõe a coletânea são traduzidos de revistas oriundas de associações fotográficas internacionais, tomando-se referência para a discussão desta prática no Clube
Abstract: This study intends to present collected articles about photography published between 1948-1951 on the Foto-Cine Clube Bandeirante (FCCB) Bulletin, founded in 1939 in São Paulo. This articles bring up a debate about photography as al1 ,artistic representation inspired on pictorialistic parameters, which spread a way to ,update photography as an art formo With the collected articles, this study tried to balance the articles ideas, raising the notions that supported the concept of FCCB's photographic production as modern in the artistic and cultural circuit of São Paulo. This study intended to identify the disputes and intentions inhen(?t to ~ production which spreads itself as part of the moderno Most of the collected articles ~~e translated ITom international photographic associations magazines and became reference for photographic discussions at the Club and stated its cosmopolitan character
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Politica, Memoria e Cidade
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Baptista, Maria Emília Moreira Tavares Samora. "João Martins (1898-1972)-imagens de um tempo "descritivo desolador"." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 2000. http://dited.bn.pt:80/29482.

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Books on the topic "Photographic interpretation"

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1943-, Berlin Graydon Lennis, ed. Interpretation of aerial photographs. 4th ed. New York: Macmillan Publ.Co., 1985.

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1943-, Berlin Graydon Lennis, ed. Interpretation of aerial photographs. 4th ed. Minneapolis, Minn: Burgess Pub. Co., 1985.

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Sensing, American Society of Photogrammetry and Remote. Manual of photographic interpretation. 2nd ed. Bethesda, Md: American Society of Photogrammetry and Remote Sensing, 1997.

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Avery, Thomas Eugene. Interpretation of aerial photographs. 2nd ed. Minneapolis, Minn: Burgess Pub. Co., 1985.

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Crisco, Wallace A. Interpretation of aerial photographs. Springfield, Va. (NTIS, Springfield, VA 22161): [Denver, Colo.], 1988.

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U.S. Fish and Wildlife Service, Long Term Resource Monitoring Program (Environmental Management Program), and Environmental Management Technical Center (U.S.), eds. Vegetation workshop, aerial photography interpretation. Onalaska, WI: U.S. Fish and Wildlife Service, Environmental Management Technical Center, 1990.

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Avery, Thomas Eugene. Fundamentals of remote sensing and air photo interpretation. 5th ed. Upper Saddle River, NJ: Prentice Hall, 1992.

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Alka, Pande, ed. Dancescapes: A photographic journey. New Delhi, India: Showcase, 2013.

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ASTON, MICK. Interpreting the landscape from the air. Gloucestershire: Tempus, 2002.

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McDonald, Robert A. A selective bibliography on imagery reconnaissance and related matters. 3rd ed. Washington, DC: Defense Intelligence College, 1988.

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Book chapters on the topic "Photographic interpretation"

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Hubbard, Thomas. "Photographic Interpretation." In Understanding Images, 15–27. New York, NY: Springer New York, 1995. http://dx.doi.org/10.1007/978-1-4613-8380-2_3.

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Proverbio, Paola. "The Value System of Objects Through the Interpretation of Photographic Language." In Springer Series in Design and Innovation, 156–64. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_15.

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AbstractThe design object finds in photographic representation a way - parallel to that of graphics - to the indispensable process of design reading. Photographic research has long been intertwined with the process of cultural qualification of the design object. The project that photography brings to bear on design is a visual narrative which, through an immediately comprehensible language, stands as a true parallel narrative, interrelated, yet not necessarily coinciding altogether with that of the written word. The object begins to circulate through the different channels of communication - from corporate catalogs to advertising pages and magazines - reaching distant people and places, sometimes even before the physical object enters the channels of distribution. This symbiotic relationship means that the object is very often accompanied by a valuable wealth of images, documenting and communicating its value system and its design, production and commercial processes, enriched over time by the shots taken by several ‘hands’, that is, by different authors who offer the opportunity for a multifaceted reading of the product. This text intends to give an example of the added value that photography represents for design through a series of paradigmatic cases (such as Gio Ponti’s Superleggera or Ettore Sottsass’s Valentine), which traverse the history of Italian industrial design from its early stage.
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Campos, Marcia, Fabio Campos, Marnix Van Gisbergen, and Michelle Kovacs. "The Relationship Among the Optical Aspects of Photographic Composition and the Quality, Perception and Interpretation of the Realism in Virtual Images." In Advances in Intelligent Systems and Computing, 594–99. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11051-2_90.

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Reynolds, Rachel R., and Greg Niedt. "Photography, Film, and Visual Storytelling." In Essentials of Visual Interpretation, 73–97. New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003045274-4.

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Godfrey, Anne C. "Many Others: Many Interpretations." In Active Landscape Photography, 143–48. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429284649-25.

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Ying-ji, Yin, and Wang Ni-hong. "Expert System for Forest Type Interpretation on Aerial Photographs." In Proceedings of the 2012 International Conference on Communication, Electronics and Automation Engineering, 519–27. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-31698-2_74.

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Kurz, Heinz D., and Neri Salvadori. "On the ‘photograph’ interpretation of Piero Sraffa's production equations." In Competition, Value and Distribution in Classical Economics, 122–40. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003138709-9.

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Miyagi, Toyohiko, Koji Ikeda, Haruna Ishikawa, Loi Doan, Nguyen Kim Thanh, Pham Van Tien, Yuxin Li, and Feng Zhang. "Interpretation and Mapping for the Prediction of Sites at Risk of Landslide Disasters: From Aerial Photography to Detection by DTMs." In Progress in Landslide Research and Technology, Volume 3 Issue 1, 2024, 15–61. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-55120-8_2.

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AbstractBy grasping the slope topography three-dimensionally and typifying and mapping the landform features, it is possible to visualize the areas at risk of landslide-induced disasters. This effort began with the interpretation of aerial photographs, and, in recent years, has shown great development with the advancement of remote sensing technology. In this chapter, we introduce the characteristics that can be extracted from remote sensing data that can be used to identify potential areas exposed to mass movement processes and landslide-induced disasters. In addition, we created a manual for landslide recognition by aerial photographs, AW3D-based wide-area maps, and specific landslide microtopography maps, which can be freely used to identify landslide landforms.
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Krupinski, Elizabeth A. "Incorporating Patient Photographs in the Radiology Image Acquisition and Interpretation Process." In Advances in Intelligent Systems and Computing, 50–55. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23762-2_5.

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Yagi, Hiroshi, Kazunori Hayashi, and Go Sato. "Landslide Susceptibility Mapping by Interpretation of Aerial Photographs, AHP and Precise DEM." In Understanding and Reducing Landslide Disaster Risk, 33–56. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60227-7_3.

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Conference papers on the topic "Photographic interpretation"

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Delli Santi, Maurizio, and Massimiliano Passarelli. "Ricostruzione 3D del sito fortificato di Monte Croccia (Basilicata, Italia)." In FORTMED2024 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2024. http://dx.doi.org/10.4995/fortmed2024.2024.18118.

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The reconstruction work of the fortified site of Monte Croccia aims to create virtual models seeking a synthesis between technical restitution of the data and a naturalistic and evocative rendering of the archaeological context. In the case of the context presented in this work, we started from surveys already carried out in past excavations and from photographic shots taken on-site. As a first phase, the surveys were reworked and compared with the photographs, the most important information for the purposes of 3D modeling was recovered and new digital graphic supports were created which formed the basis of the work. In the second phase, after an accurate evaluation and interpretation of all the data available, with the new two-dimensional supports compatible with 3D modeling software, the volumetric models of the archaeological structures to be represented were created. Finally, these models were further processed with high-resolution textures for the final photo-realistic rendering.
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McGowan, Joseph C., Jacob L. Fisher, and Scott R. Lucas. "Biomechanical Analysis of Occupant Kinematics: Interpretation of Witness Marks." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-192654.

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Understanding the occupant kinematics associated with an automotive accident is essential to evaluating injury causation and can lead to improved design of vehicles and restraint systems. Biomechanical analysis can be undertaken with knowledge of the accident reconstruction, that is, velocities and trajectories of the involved vehicle or vehicles, as well as the results of a detailed vehicle inspection and evaluation of other physical and photographic evidence. Evidence can be incomplete, seemingly contradictory, or compromised by the passage of time, and the biomechanical engineer must seek an explanation that is consistent with all that is known. Sometimes a physical examination of the accident vehicle provides a vivid understanding of injury causation. At other times the information obtained from the vehicle is understood only in the context of injuries sustained, witness statements, and/or information derived from other sources. We explain a methodology for conduct of a physical inspection of an accident vehicle to develop insight to be used in conjunction with information from other sources to elicit a clear and complete understanding of injury causation. We specify common and less common “witness marks” that are examined to develop constraints on possible occupant kinematics. Selected case studies highlight the importance of a careful inspection and suggest specific applications to accident scenarios.
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Tribe, Selina, and Mark Leir. "The Role of Aerial Photograph Interpretation in Natural Hazard and Risk Assessment." In 2004 International Pipeline Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ipc2004-0390.

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Aerial photograph interpretation is an accurate and economical method of assessing terrain conditions and natural hazards affecting pipelines and other linear facilities. Completed in advance of vehicle and helicopter-based reconnaissance, it provides a comprehensive site overview that cannot be obtained at ground level. Aerial photograph interpretation helps construct and confirm preliminary hazard and stream-crossing inventories, understand hazard mechanisms, and estimate hazard volume and activity. Time series photo interpretation uses several sets of aerial photographs taken of the same area in different years to track changes in terrain, stream patterns and land-use over time. In addition, aerial photographs are superior navigation tools in the field. These points are illustrated using examples from pipelines in British Columbia and Alberta. This work will be of interest to managers of pipelines throughout western Canada, and to those involved with pipeline route selection through mountainous regions.
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Hertzberg, Jean, and Alex Sweetman. "Impact and Outcomes of a Flow Visualization Course." In ASME 2009 Fluids Engineering Division Summer Meeting. ASMEDC, 2009. http://dx.doi.org/10.1115/fedsm2009-78480.

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For the past six years, a course on flow visualization has been offered to mixed teams of graduate and undergraduate engineering and fine arts photography students at the University of Colorado. The course has significant technical content on flow visualization and photographic techniques, and includes some emphasis on documentation and the interpretation of results, particularly with respect to atmospheric dynamics as revealed by clouds. What makes this course unusual is the emphasis on the production of images for aesthetic purposes: for art. While a number of art/science collaborations are growing worldwide, both in professional and academic communities, typically scientists are expected to contribute technical support while artists produce art. A particularly unusual aspect of this course is that all students are expected to demonstrate both aesthetic sensibility and scientific discipline. Another is that students are not constrained to study specific phenomena or use specific techniques; instead, creativity is required. A major outcome from this course is a series of stunning images. In addition, anecdotal evidence suggests that this course has a lasting impact on students’ perception of fluid physics, which can be contrasted to the effect of traditional introductory fluids courses. This raises the question of whether this impact is significant with respect to students’ understanding and appreciation of fluid mechanics, and if so, what aspect of the flow visualization course is most important? A survey instrument is being designed to quantify whether students’ awareness of fluid mechanics in the world around them changes when they take these courses and if students’ attitudes towards fluids is changed when they take these courses.
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Strava, Salomea, Cristian Tecu, and Mihai Onita. "" TEACH ME PHOTOGRAPHY, ROBOT." A CASE STUDY REGARDING VISUAL EDUCATION." In eLSE 2021. ADL Romania, 2021. http://dx.doi.org/10.12753/2066-026x-21-200.

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Visual arts-mediated education and training are inherent to the learning process irrespective of its traditional, digital, or hybrid formats. Photography entails creative functions while the image creator implicitly needs to be enabled through training to produce compositions that observe communication rules while simultaneously breaking wittingly the same rules. The current paper identifies quality criteria underlying highly rated photographs and features an artistic composition-based section. The main factors that influence the composition are the rule of thirds (division, point of interest), repetition (frequency, constant, resumption), symmetry (weight, variety, middle), HSL (Hue, Saturation, Brightness), empty space, use of background (subtle, main, flattening), balance (harmony, chromatic, unity), hierarchy (focus, eye direction). Many masterpieces are consciously eluding the above rules. The images are rioting against the mundanity and impersonal. The photographic composition escapes from the templates shown above, the images arouse the viewer, who needs a "key" to decipher them. This kind of visual approach has a semantic load that raises it above the fast-comprehension photo if the viewer makes the effort to accept and decipher it. The suggested artistic compositions are manually segmented into areas of interest (objects, lines, characters, etc.) accompanied by well-articulated interpretations, as they are perceived by a visual arts connoisseur. Furthermore, the authors describe sets of image data currently used in the automated assessment of image quality: IDEA, Painting-91, SCUT-FBP5500, Waterloo IAA, IAD, AVA, GPD, FACD, NU FOOD, CUHKPO, BAM, NNID. The paper is simultaneously a starting point for a subsequent set of high-quality photographs and an adequate learning resource for fields of study such as multimedia, arts, and social media.
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La Spina, Vincenzina, M. T. Palomares Figueres, F. Iborra Bernard, and F. Usó Martín. "The heritage consideration of the Virgen del Carmen Group (Valencia): a historical reinterpretation." In 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15224.

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The conservation of Modern Movement architecture as a built architectural heritage requires also its renovation to reach today's standards of comfort and efficiency. It is even more necessary when it is still in use, as in the case of residential architecture. Moreover, it is a living heritage that, to be understood holistically, requires consideration of the experiences of its inhabitants. The Virgen del Carmen Group in Valencia is a residential complex designed and built by GO-DB Arquitectos between 1958 and 1963, and included in the DOCOMOMO Ibérico database. This architectural complex has been taken as an object of study to analyse the interpretation of its past based on exhaustive historical and archival research. This is the necessary first step towards its heritage consideration on which its future revitalisation and energy upgrading will be supported. This paper will detail the main results of the historical and archival research carried out. The changes and transformations, that the Virgen del Carmen Group has undergone over the years, have been evidenced by comparing the original project, the renovation projects, and its current state.To this end, the documents kept in the main national archives and those of the Valencian Community and the city of Valencia were consulted, as well as various historical photographic, newspaper and video sources.
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Bertocci, Stefano, Giovanni Pancani, and Anastasia Cottini. "La cinta muraria di Lastra a Signa: metodologie di rilievo digitale integrato." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11498.

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The city wall of Lastra a Signa: integrated digital survey methodologiesThe survey of the Lastra a Signa city walls (built between the second half of 1300 and the first half of 1400) is the result of three different survey campaigns made in 2006-2007-2008 and of the following data processing carried out as part of a Master thesis. It is a paradigmatic example of the overcoming of the concept of “survey as a mere measurement and graphic representation of a certain element”, by using a methodology protocol. At that time, survey operations became more complex because it was necessary to coordinate with a scientific basis the different survey phases: preliminary documentation, data taking with several instruments, data processing, data filing and cataloguing, two-dimensional representation of plans, cross-sections and elevations, wall decay interpretation and building materials analysis. The survey subject became a dynamic and ever-changing process, thanks to the introduction of digital survey and the availability of new technologies. This paper describes the methodologies that were used in each different part of the survey campaign, of the data cataloguing operations and of the representation process, underlining the importance of the strict hierarchy of the acquired and rendered data. This hierarchy allowed to manage information obtained from topographic, laser, direct and photographic survey, and then to discretise, clean, georeference and make two-dimensional representations of the acquired data. Ultimately, it allowed creating a database that contains all these elements and ensures that the archived data can be updated in the future.
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Sellar, Christopher, Alexander Ashcroft Valente, David Rafael Contreras Perez, Humberto Parra, and Nader Gerges. "Utilizing Core Fluorescence to Reduce Uncertainty in the Petrophysical Interpretation of Thin and Low Relief Carbonate Oil Reservoirs." In Gas & Oil Technology Showcase and Conference. SPE, 2023. http://dx.doi.org/10.2118/214107-ms.

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Abstract The water saturation (Sw) interpretation from resistivity logs has been observed to be highly uncertain in Oilfield A. By integrating core fluorescence observations from underutilized ultraviolet (UV) light core photography images, it is possible to QC these interpretations in challenging thin reservoirs, thinly bedded reservoirs, compacted reservoirs and low relief structures with significant oil volumes at intermediate oil saturation. High-quality core is routinely taken in appraisal wells in Oilfield A. A standard core analysis work programme has been applied to these cores including core gamma, Conventional Core Analysis (CCA), Whole Core Analysis (WCA), Mercury Injection Capillary Pressure (MICP) and core photography. Core photography includes both white light and UV imaging. A detailed core description of the cores has subsequently been made. This includes the description of core fluorescence in UV core photography images which show varying intensities of hydrocarbon saturation. The core fluorescence description is integrated with all other available well data including the log Sw interpretation. The results highlight the uncertainty in the conventional resistivity-based determination of Sw. As part of the modeling workflow in Oilfield A, log Sw interpretation and the proposed saturation height model (SHM) were QC’ed by integrating all available data from appraisal wells. By comparing hydrocarbon core fluorescence from UV light core photography images to the log Sw interpretation, the following results were possible: High resistivity "shoulder bed" effects, resulting from the low-resolution resistivity log averaging the juxtaposition of low porosity non-reservoir and reservoir intervals, were removed from petrophysical interpretation. Core fluorescence from UV light core images was observed to be intermittent on a foot-to-decifoot scale in Reservoir 5 due to cementation associated with chemical compaction features. The high-resolution core fluorescence description was used to challenge the continuous hydrocarbon saturation interpreted from logs in Reservoir 5. The integration of these observations allowed reconciliation with results from repeat formation tester pump-outs and well tests, enabling a more realistic Sw distribution in the reservoir model. Hydrocarbon saturation from log Sw was interpreted to continue deep into several reservoirs in Oilfield A. The core fluorescence description from UV light core photography showed hydrocarbons were only present at the top of these reservoirs. In reservoirs with homogeneous porosity profiles but vertically changing rock-types, the resistivity log is not able to distinguish high resistivity caused by hydrocarbon saturation from high resistivity caused by cementation and/or reduced permeability. The finding challenges using the same values of ‘m’ and ‘n’ in Archie log Sw interpretation throughout a reservoir. Integration of hydrocarbon core fluorescence from UV light core images added significant value to the understanding of Sw distribution in Oilfield A. Apparently contradictory data from repeat formation tester pump-outs and well tests were reconciled, and previous hypotheses were challenged by integrating this underutilized data type. Simple steps are used to integrate these data to reduce Sw uncertainty in heterogeneous carbonate reservoirs, particularly those with a large proportion of STOOIP at intermediate oil saturation due to their low-relief structure.
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Fisher, John S., and Margery F. Overton. "Interpretation of Shoreline Position From Aerial Photographs." In 24th International Conference on Coastal Engineering. New York, NY: American Society of Civil Engineers, 1995. http://dx.doi.org/10.1061/9780784400890.145.

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Yu, Honggang, Carla Agurto, Simon Barriga, Sheila C. Nemeth, Peter Soliz, and Gilberto Zamora. "Automated image quality evaluation of retinal fundus photographs in diabetic retinopathy screening." In 2012 IEEE Southwest Symposium on Image Analysis & Interpretation (SSIAI). IEEE, 2012. http://dx.doi.org/10.1109/ssiai.2012.6202469.

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Reports on the topic "Photographic interpretation"

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Duncan. L52005 Reliable Diagnosis of SCC During Field Inspection. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), March 2003. http://dx.doi.org/10.55274/r0011252.

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Direct assessment (DA) is one method pipeline companies use to assess the extent and severity of stress corrosion cracking and other defects on their pipeline system. Successful integrity management of a pipeline is dependent, in part, on proper interpretation of the defects encountered in the DA program. The objective of this project was to prepare a document containing a compilation of types of crack-like magnetic-particle testing (MT) or visual indications found on underground transmission pipelines for the purpose of proper interpretation of their type and cause. Pipe samples containing various types of defects were inspected by means of black and MT, optically photographed, and then metallographically sectioned and photographed. The MT photographs and metallographic photomicrographs were compiled in an Access Database.
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Light. L51572 Demonstration of Realtime Radiography on Pipeline Girth Welds. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), September 1988. http://dx.doi.org/10.55274/r0011315.

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Conventional radiography has been the accepted nondestructive testing (NDT) method used for many years to either accept or reject a field weld in the pipeline industry. However, conventional radiography requires the expense of film, developing chemicals, and manpower for film development. It also normally has a delay of 2 hours or more between when the weld was radiographed and when the radiographic film of the weld is available for interpretation. Over the last few years, a newer approach to performing radiographic testing, called real-time radiography, has been used in several different types of field inspection operations. The real-time radiography system forms the image with optical imaging in lieu of photographic film. The objectives of this project were to (1) Integrate various optimized real-time radiographic components (identified as a result of the previous project) into a field-usable, real-time-radiographic inspection (RTRI) system for single-wall inspection of pipeline girth welds and (2) Demonstrate the system in the field.
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Reheis, M. C. Aerial photographic interpretation of lineaments and faults in late Cenozoic deposits in the eastern parts of the Saline Valley 1:100, 000 quadrangle, Nevada and California, and the Darwin Hills 1:100, 000 quadrangle, California. Office of Scientific and Technical Information (OSTI), September 1991. http://dx.doi.org/10.2172/138204.

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Reheis, M. C., and J. S. Noller. Aerial photographic interpretation of lineaments and faults in late cenozoic deposits in the Eastern part of the Benton Range 1:100,000 quadrangle and the Goldfield, Last Chance Range, Beatty, and Death Valley Junction 1:100,000 quadrangles, Nevada and California. Office of Scientific and Technical Information (OSTI), September 1991. http://dx.doi.org/10.2172/138195.

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Lannom, Keith B., David L. Evans, and Zhiliang Zhu. Comparison of AVHRR classification and aerial photography interpretation for estimation of forest area. New Orleans, LA: U.S. Department of Agriculture, Forest Service, Southern Forest Experiment Station, 1995. http://dx.doi.org/10.2737/so-rp-292.

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Provencher, L., and J. M. Dubois. Interpretation guide of natural geographic features from ETM+ Landsat imagery and aerial photography: dune. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2005. http://dx.doi.org/10.4095/314945.

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Provencher, L., and J. M. Dubois. Interpretation guide of natural geographic features from ETM+ Landsat imagery and aerial photography: esker. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2005. http://dx.doi.org/10.4095/314947.

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Provencher, L., and J. M. Dubois. Interpretation guide of natural geographic features from ETM+ Landsat imagery and aerial photography: moraine. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2005. http://dx.doi.org/10.4095/314951.

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Provencher, L., and J. M. Dubois. Interpretation guide of natural geographic features from ETM+ Landsat imagery and aerial photography: pingo. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2005. http://dx.doi.org/10.4095/314961.

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Provencher, L., and J. M. Dubois. Interpretation guide of natural geographic features from ETM+ Landsat imagery and aerial photography: reef. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2005. http://dx.doi.org/10.4095/314963.

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