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Journal articles on the topic 'Photographic interpretation'
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1
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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Olszański, Grzegorz. "Poetyki negatywów. Tadeusz Różewicz wobec fotografii." Wielogłos, no. 2 (52) (2022): 69–88. http://dx.doi.org/10.4467/2084395xwi.22.005.15878.
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Poetics of the Negatives. Tadeusz Różewicz and the Photography The article Poetics of the Negatives poses a question about the position of photography in creation of the writers’images. Exemplified in the most substantial part by the pictures of Tadeusz Różewicz, taken by a prominent artist photographer Adam Hawałej of Wrocław, published in his two books (Różewicz, Śmietnik [Garbage]), the article aims to reconstruct Różewicz’s attitudes towards the photographic medium. The author of Niepokój [Faces of Anxiety] initially appears as an artist protecting his privacy, at the same time negating the creative measure of photography (in favor of its documentary role). However, as time passed and possibly because of his friendship with several outstanding photographers (A. Hawałej, J. Olek and J. Stankiewicz), his view on photography tended to evolve while the artist himself became not only the subject of numerous exquisite works, but eventually the author of many. The article concludes with an interpretation of the photographic happening captured by Adam Hawałej and published in the book Śmietnik.
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yang, nel. "Arousal and Elicitation: Photographic Performativity in FinDom." Master, Vol. 5, no. 2 (2020): 70–77. http://dx.doi.org/10.47659/m9.070.art.
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Financial domination (findom) is a fetish practice in which a submissive derives erotic pleasure from sending money to a dominant or a cashmaster. Cashmasters produce photographs meant to elicit this desire in cashslaves, essentially arousing the desire to send money. This essay approaches this emergent genre of seemingly self-promotional photography as a genre of photographic performativity (Levin 2009). Rather than the desire to capture or represent (Batchen 1999), these images evidence a choreography of photographic performativity including both masters (as makers) and slaves (as viewers). Though the compliance with form and economic practice tempts the interpretation that masters are now slaves, this essay suggests that these images invite performances of domination, submission, and critique into wider performatives of arousal and elicitation. What critics and social analysts perceive as power (economic, erotic, or otherwise) are, in fact, desire at its seams, in the process of active and cooperative composition. Keywords: desire, fetish, photographic performativity, critique, masculinity, financial domination
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Choi, Jeongho, and Dukhwan Kim. "A Study on the Reality and Artistic Value of Realistic Photography." Asia Europe Perspective Association 21, no. 2 (June 30, 2024): 135–49. http://dx.doi.org/10.31203/aepa.2024.21.2.135.
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This study explores the essence and evolution of photographic art, focusing on the debate surrounding the reality and artistic value of realistic photography. It examines the progression of photography from a mere recording tool to an independent art form and analyzes how the advent of the digital age has expanded the modes of expression and artistic value of photography. The study systematically reviews the technological advancements and artistic expressions from the invention of early photography to modern digital photography. The study emphasizes that the reality of photography is not a simple replication of reality but a reconstructed reality through the photographer’s subjective interpretation and creative intervention. Based on Susan Sontag's theories, it discusses the social, cultural, and personal interpretations of photographic images and explores the impact of digital technology on the truthfulness and ethics of photography. The significance of this study lies in its reevaluation of the artistic value of photography and the presentation of new artistic possibilities in the digital age. It suggests the integration of factual accuracy and creativity, the delivery of social messages, and the creative use of digital technology as essential for the advancement of photographic art. It also highlights the importance of comprehensive photography education. In conclusion, the artistic value of realistic photography can be secured through the harmony of factual accuracy and creativity. Continuous exploration of new artistic possibilities, reflecting the changes brought by the digital era, is essential. Through this, photographic art will evolve into richer and more diverse forms, playing a crucial role in conveying social messages.
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Olin, Laurie. "AMERICAN DESIGNED LANDSCAPES: A PHOTOGRAPHIC INTERPRETATION." Landscape Journal 18, no. 2 (1999): 187–89. http://dx.doi.org/10.3368/lj.18.2.187.
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Zhu, Yuwen. "PHOTOGRAPHIC ART AND ANTHROPOLOGY: DECODING THE MULTIFACETED CULTURE OF CORPORALITY." Scientific and analytical journal Burganov House. The space of culture 19, no. 5 (October 10, 2023): 85–96. http://dx.doi.org/10.36340/20716818-2023-19-5-85-96.
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The art of photography has been challenging and reshaping our perception of the world since its inception. Likewise, anthropology, as a discipline that studies human cultures, social structures, and beliefs, offers a valuable perspective for understanding the body presentation in photography. Combining anthropological theories and methods, as well as analysing and interpreting works of photographic art, the article examines how identity is interpreted, constructed, expressed in culture and social structure in photographic art, including through a body image. The body is the most direct and authentic manifestation of identity. However, identity is not some kind of fixed label; it is multi-layered and multidimensional, constantly developing and changing both in a person and in the environment. As an artistic medium, photography makes it possible to show this changeability and versatility of identity. Moreover, the body does not exist in isolation in photography; it is placed in a cultural, historical and social context. This context gives the photographer and the viewer a clue to deciphering the body, helping to deeper understand the body’s place in culture and the values and beliefs it carries. Photography captures not only the body but also the many interpretations and meanings given to the body in culture. By exploring the relationship between the body and social structure, we find that certain body features are used in various sociocultural contexts to differentiate social status, gender, race, and other social markers. By highlighting or challenging these features, photography deepens our understanding of the role of corporality in social structures. Thus, the application of anthropological approaches to the analysis of the art of photography provides us with a fresh perspective, allowing us to gain a deeper understanding of the cultural, social and individual meanings embedded in photography. Through anthropological interpretation and understanding of the body, through the expressive means of photography, works of greater depth and breadth can be presented, and the viewer, owing to the anthropological perspective, can gain a deeper understanding of the cultural context and social environment in which he or she lives.
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Wood, Peter. "Māori Girl with a Typewriter, 1906." Architectural History Aotearoa 16 (December 5, 2019): 87–98. http://dx.doi.org/10.26686/aha.v16.8934.
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This paper takes its title from a photograph held by the Alexander Turnbull Library. Recorded by Stefano Webb Photographic Studio of Christchurch, it is a studio study that falls somewhere between being a portrait, commercial illustration or candid record. The subject for the photograph - as the name reveals - is a young Māori woman sitting in front of a typewriter. Her fingertips touch the keys of the machine but her relationship to this quintessential object of the "modern" office-place is juxtaposed against surfaces that are distinctly indigenous: the woman wears a feather cloak and the typewriter is placed on another flax one. In turn this display is situated in a generic office environment. In totality the photographic is thematically and pictorially enigmatic, and we might reasonably wonder what purpose it served? In this work I conduct a comprehensive visual analysis and suggest that there may not be one main motivation behind it but a series of experiments, both conscious and unconscious to the photographer, that govern the creation and interpretation of this photograph. Central to my reading is the presence of an architectural mise-en-scene that organizes and activates the pictorial mystery, and so, while this does not depict an heroic architectural object it nonetheless depends upon an appreciation of how architecture might organise a photographic record.
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Lindsey, Rachel. "Haunting the Streets of Cairo." Bulletin for the Study of Religion 43, no. 2 (April 22, 2014): 4–11. http://dx.doi.org/10.1558/bsor.v43i2.4.
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This article examines connections between visual habits of American imperialism, photographic technology, and biblical imagination in the last decade of the nineteenth century. The author argues that visual habits of optical elision, or the learned technique of not-seeing photographic contemporaries in order to see instead photographic evidence of a biblical past, linked modes of biblical interpretation with forms of American imperialism. She also contends that halftone print technology introduced considerations of the relationship between images and text, providing silhouettes of theological developments at the end of the century that differentiate photography from prior modes of illustration.
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Brandt, Jean Paul. "Rethink photographic narratives: historiographical insights into Magnum Photos and the legacy of Sergio Larraín." Fotocinema. Revista Científica de Cine y Fotografía, no. 28 (January 26, 2024): 245–68. http://dx.doi.org/10.24310/fotocinema.28.2024.17685.
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Photography, as a medium, has long been recognized for its unparalleled ability to capture and convey stories, with Magnum Photos standing as a testament to the profound influence of visual narratives on shaping global perceptions and historical interpretations. This essay delves deeply into the historiographical intricacies of Magnum and the enduring legacy of Sergio Larraín. It underscores the delicate interplay between objective documentation and the inevitable subjective interpretation that often accompanies powerful imagery. Larraín's distinct humanistic approach, which prioritized the intricate subtleties of human experiences amidst broader socio-political landscapes, frequently found itself juxtaposed, if not overshadowed, by Magnum's commercial and editorial imperatives. Such reframing not only alters the essence of the captured moment but also raises critical questions about the ethics of photojournalism and the overarching responsibilities of influential photographic agencies. In today's digital age, where the rapid dissemination of images can lead to widespread reinterpretation, the imperative for a more ethically grounded and transparent approach to photojournalism becomes even more pronounced. Through this exploration, the essay underscores the transformative power of photographs, emphasizing the importance of preserving the sanctity of the original vision while also acknowledging and respecting the myriad interpretations that such images can evoke.
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Fraser, Kathryn. "The Photographic Insane." Cinémas 9, no. 1 (October 26, 2007): 139–51. http://dx.doi.org/10.7202/024777ar.
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ABSTRACT Bazin's famous essay touting the photograph's identicality with its subject was precedented by photography's early relation to empirical investigation in the human sciences (the psychiatry). Contrary to this, what this author wishes to reinforce in this paper is that perception is constructed and integrally bound up with conceptual processes. This paper thus constitutes a short examination of what this author calls the "Photographic Insane," and illustrates how images of madness use, and require for their interpretation, a particular, and culturally shared "schematic" framework.
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Mc Donald, Robert A., and John Eliot. "Variables Contributing to Successful Aerial Photographic Interpretation." Perceptual and Motor Skills 64, no. 2 (April 1987): 551–57. http://dx.doi.org/10.2466/pms.1987.64.2.551.
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31 males and 64 females ranging in age from 16 to 90 yr. volunteered to take Heim's AH4 intelligence test, the Group Embedded Figures Test of field dependence, and two measures of aerial photographic interpretation. In stepwise multiple regression analyses, intelligence and field independence contributed most to performance on the two aerial photographic interpretation tests. Sex-related differences were found for the McDonald Aerial Photo Feature Identification Test but not for the Avery Visual Search Test.
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Shik, I. A. "“Moscow Surrealism” by Mikhail Dashevsky." Art & Culture Studies, no. 4 (December 2023): 152–81. http://dx.doi.org/10.51678/2226-0072-2023-4-152-181.
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In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s version of “surrealism” or, more precisely, a particular “Moscow surrealism”. It was formed in the context of both the photographer’s own poetics and the specifics of the development of Russian photography in general. Like many works by surrealist photographers, Dashevsky’s photographs can be read both as an authentic story about his era and as its subjective interpretation. The researcher reveals parallels between historical photographic surrealism and the works of Dashevsky at the levels of the choice of motives, conceptions and artistic techniques. Their common motives and themes include interest in monuments, mannequins, shop windows, cafes, antique shops, flea markets, images of picturesque destruction, and absurd situations. Among their general strategies it is important to mention the search for “paradoxical juxtapositions” generated by reality itself, the choice of an unusual angle of shooting, the work with inscriptions in the urban space, and the involvement of the viewer’s associative thinking. Dialectics of the real and the phantom, internal and external, public and private, which is close to surrealist aesthetics, endows the works of M.A. Dashevsky with semantic versatility. The photographer also actively uses the strategy of one reality penetrating into another, generating surreality, which is developed in his photographs of “glass life” and “overlays”. An integral part of the works by M.A. Dashevsky is the author’s humor — kind and lyrical or close to surrealistic black humor.
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Anderson, Fay. "‘Photographing Lindy’: Australian press photography and the Chamberlain case, 1980–2012." Media International Australia 162, no. 1 (September 26, 2016): 7–18. http://dx.doi.org/10.1177/1329878x16665495.
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This article analyses the news photography surrounding a high-profile case of alleged matricide in Australia: the disappearance of 9-month-old Azaria Chamberlain, and the subsequent murder trial and eventual acquittal of her mother, Lindy. While the scholarship on the media’s conduct during Chamberlain’s ordeal has been exhaustive, the press photographers’ role has not been considered. Drawing on oral history interviews with newspaper photographers, this article explores the ways that the photographers’ workplace culture, gender, relationships and practices informed their approach. It argues that their images in isolation did not contribute to the demonisation of Chamberlain; the same photographs were used to project both innocence and guilt depending on the editorial interpretation. The article will provide new historical understanding about the photographic traditions and routines surrounding the Chamberlain case and crime photography more generally.
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Lane, S. N., K. S. Richards, and J. H. Chandler. "Developments in photogrammetry; the geomorphological potential." Progress in Physical Geography: Earth and Environment 17, no. 3 (September 1993): 306–28. http://dx.doi.org/10.1177/030913339301700302.
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Current emphasis in geomorphology recognizes the need for the accurate representation of topographic form, reflected in the growth of digital terrain and elevation modelling. A key requirement of such strategies is the efficient acquisition of information in an appropriate form and at an appropriate resolution to the landform under consideration. The traditional use of photographs in geomorphology has been for interpretation, but developments in photogrammetry may allow the full advantages of the photograph as a means of acquiring and storing quantitative information to be used. The photograph can provide information on all areas visible on a photograph; the information is acquired retrodictively; the photograph preserves the spatial relationship of morphological units; the collection of photographs requires minimal landform contact; the photograph records extra explanatory information; and photographs can be obtained at an appropriate temporal resolution to the landform under investigation. However, optical and mechanical limitations imposed by traditional photogrammetric approaches have prevented its rigorous and widespread application to geomorphology. Developments within photogrammetry, notably the analytical approach, now open up wider geomorphological possibilities. The analytical approach overcomes these limitations through the use of an interactive mathematical model at the stage of photographic analysis. The obtained information is in a form directly suited to the construction of digital terrain or elevation models. This technique can be used both for landform monitoring and for the analysis of archival photographs to reconstruct historical landform change.
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INOUE, Kimio. "Geomorphological changes of large landslides by photographic interpretation." Landslides 23, no. 2 (1986): 8–16. http://dx.doi.org/10.3313/jls1964.23.2_8.
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Costa Pinto, Ricardo Santhiago, and Luciano Bernardino da Costa. "Verticalization: Photographic Explorations Of Complex Urban Phenomena." Sophia Journal 6, no. 1 (January 12, 2022): 47–59. http://dx.doi.org/10.24840/2183-8976_2021-0006_0001_9.
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How to explore photography as a way of problematizing urban phenomena? Is it possible to use different aesthetic concepts, in photography, to expand the dialogue with cities? These two questions guide the photographic research developed as part of the project, “Highrise Living and the Inclusive City”, with a focus in São Paulo / Brazil and Lyon / France. The first question highlights the territory and the production of capitalist urban space by photography realized in fieldwork. The second one involves editing and re-elaborating the images, considering the approximation between the research project, local records and photography aesthetic. The High-Rise Project, on the other hand, discusses the contemporary verticalization process and its spatial and social implications in Sao Paulo city, considering a contextual (São Paulo, Lyon) and multiscale analysis model, while incorporating different reading strategies and territory interpretation. The field study, initially organized as a team, resulted in different materials, including the photographic one, from which discussion and editing meetings were conducted by this researcher, considering possibilities for language experiments in interaction with the territory. The series and photographic montages realized allowed a reflection about the relationship between public spaces and paths capturing a specific ambience to the places; and, also, exploring different comparative strategies that highlight, in the four distinct regions, intense landscape transformation due to verticalization. On the other hand, these photographic setting acquire a relative autonomy in relation to the original project, being placed on the edge of applicated use of image and esthetic research with its own characteristics.
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Kukorenchuk, Volodymyr, Nataliia Vdovychenko, and Valeriia Bondar. "Photo Art Project Erotics in Photography: From Analogue to Digital. Part 2." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 2 (December 22, 2022): 246–63. http://dx.doi.org/10.31866/2617-2674.5.2.2022.269544.
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The author’s idea. The idea of this photographic project was to create an erotic photographic work, namely such images that contain elements of fine art, which are closely intertwined with the myths and legends of ancient Greece. Throughout photographic history, both historical aspects and stylistic images of the visual art of each era are explored and intersected.
The photographic project is based on the story of characters such as Eros, and the three graces – Innocence, Beauty, and Love. During the development of the storyline, the characters go through the ages, their aesthetics, and expressiveness. The passage of time and the development of society in terms of morality change the attitude toward the naked human body and its interpretation.
The analysis of the beauty of the human body in various forms of sensuality is carried out. It is established that eroticism is the result of the process of ontogenetic, and cultural development and expresses the individual psychological and semantic components of the human body’s uniqueness. And photography, as the most common way of visual communication, has formed modern ideas about it.
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Alencar, Larissa Barbosa, and Gustavo Cunha de Araújo. "A FOTOGRAFIA COMO FONTE DE PESQUISA PARA HISTÓRIA E MEMÓRIA DE UM MUNICÍPIO TOCANTINENSE." Revista Uningá Review 36, no. 1 (December 18, 2021): eURJ4110. http://dx.doi.org/10.46311/2178-2571.36.eurj4110.
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Research on photography with a focus on a city in the state of Tocantins is a way to try to tell of the history of this city, since there is little information or files that reveal part of this history. This research has as its main objective to identify, through photographic records, the history and memory of the city of Tocantinopolis - TO, Brazil. Of a qualitative approach and basic nature, the data collection instruments used were visual sources (photographs) regarding Tocantinopolis - TO, in addition to bibliographic research. Among some results found, the analyzed images revealed part of the history and the memory of this city. The information generated in the analyses helped us to identify visual elements present in the photographs that allowed us to expand the reading and interpretation capacity, which was fundamental to understand the stories, memories and the context that accompany (or accompanied) these images registered in this research.
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Porter, Glenn. "Zak Coronial Inquest and the Interpretation of Photographic Evidence." Current Issues in Criminal Justice 24, no. 1 (July 2012): 39–49. http://dx.doi.org/10.1080/10345329.2012.12035943.
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Quiel, F. "Commission VII — Interpretation of photographic and remote sensing data." Photogrammetria 41, no. 3 (June 1987): 213–16. http://dx.doi.org/10.1016/0031-8663(87)90040-8.
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Luitzen, Jan, and Wim Zonneveld. "ACTIE OP HET VELD." De Moderne Tijd 1, no. 1 (January 1, 2017): 27–50. http://dx.doi.org/10.5117/dmt2017.1.003.zonn.
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ACTION ON THE PITCH A visual approach to nineteenth century football history in The Netherlands This article illustrates the ‘visual turn’ approach to sports history in an analysis of traditionally under-researched material from the late nineteenth century. Focusing on football (‘soccer’) action photography, we argue that interpreting this visual material contributes significantly to the exploration and interpretation of the broader social and cultural context within which sports were practised and the visual material was produced. Regarding the latter, the photographer’s challenge was to capture the movement inherent in the practice of sports generally and of football specifically. Our analysis explains the time at which these pictures first appear as a consequence of developing possibilities and skills in ongoing photographic experimentation. This is illustrated by a case study of a football action photograph from the archives of the Noorthey Institute for boys in Voorschoten, dating from 1895-1897. There, conducting sports was seen as a way of enhancing the students’ physical and mental strengths, including improved study performance. It took place in an atmosphere of camaraderie among teachers and students, the latter acting as supervisors and teammates at the same time. Beyond the texts, the photographs visualize what this educational approach entailed in actual practice.
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Linares Sánchez, Malely. "Photography as a tool for sociocultural analysis. Visual approaches in Latin America." Revista de Antropologia Visual 2, no. 29 (November 12, 2021): 1–18. http://dx.doi.org/10.47725/rav.029.10.
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Photography goes far beyond just shutting down any device that captures an image. Since its creation at the beginning of the 19th century, different uses and meanings have been attributed to it; from art, information, archives and of course as a cultural product. However, in addition to these functionalities, in this article we propose photography as a useful instrument for socio-cultural interpretation. For this, a map of contemporary photographic projects in Latin America is presented that we consider disruptive, novel and that contribute to the understanding of current debates in the social sciences.
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Castelnuovo Biraben, Natalia. "Visualizing Development. A visual narrative in photo albums." Revista de Antropologia Visual 2, no. 29 (June 7, 2021): 1–15. http://dx.doi.org/10.47725/rav.029.06.
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Development Projects and programs have frequently appeal to images and in particular to photography in diverse textual registers and virtual spaces: technical reports, illustrating NGOs websites, passbooks and report cover, brochures for donors, among other things. If in some of this registers images appear subsidized to a main text, in other they occupy a prominent place in development narrations. It was this aspect precisely that called my attention to examine a photographic corpus arranged in albums that register the implementation process of a development program intended for indigenous people in northern Argentina: to find out in its pages a development visual narrative. The photo albums under analysis were produced during the implementation of “Componente de Attention a la Población Indígena” between 1999 and 2005. The photographic images appear with all their creative potential and load with an interpretation about the development world. They invite us to reflect upon the marginal place of photography in the development field.
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Schilbach, E., Wenjing Jin, M. Crézé, P. D. Hemenway, I. I. Kumkova, I. K. Platais, S. Röser, C. Turon, and J. J. Wang. "Commission 24: Photographic Astrometry: (Astrometrie Photographique)." Transactions of the International Astronomical Union 24, no. 1 (2000): 48–59. http://dx.doi.org/10.1017/s0251107x00002571.
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The scope of scientific interests of about 130 Commission members is much more complex than one may expect from the title of the commission. Besides traditional topics like the compilation of astrometric catalogues and the construction of an inertial reference system, more and more investigations performed by our members have been dedicated to the astrophysical interpretation of observations including among others astrometric data.
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Heintze, Beatrix. "In Pursuit of a Chameleon: Early Ethnographic Photography from Angola in Context." History in Africa 17 (January 1990): 131–56. http://dx.doi.org/10.2307/3171810.
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In recent years early photographs from Africa have increasingly attracted the attention of historians and ethnologists, as have those from other parts of the world for some time. It has been attempted to ascertain the general and specific circumstances which led to them being made and subsequently used. The multifarious problems raised by their interpretation have been discussed. Books and articles have been published in which historical photographs form an integral and principal component. And it has been attempted to tap hitherto neglected, or to a large extent unknown, photographic archives and collections.One of the countries to which least attention has been paid in this field is Angola, whose photographic documentation is widely scattered and in some cases not accessible. It is likely that many valuable collections have yet to be discovered; and of those that are known, in most cases the financial means and the expertise necessary for their conservation are lacking. In the light of this generally bleak situation Jill Dias' recent systematic review of the period from 1870 to 1914 is particularly welcome. My own contribution will take her work as its starting point, but will focus exclusively on ethnographic photography.“Ethnography” will be used here in the sense in which photographers and researchers active in Angola during the period concerned (1875-1940) understood it—as a description (more systematic in some cases than in others) of “uncivilized,” “native” African peoples and cultures. It should be remembered that the boundary between “physical” and “cultural” anthropology was at that time still fluid.
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Battin, Justin Michael. "Explorations on the Event of Photography: Dasein, Dwelling, and Skillful Coping in a Cuban Context." Review of International American Studies 15, no. 2 (December 31, 2022): 49–70. http://dx.doi.org/10.31261/rias.14868.
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In the summer of 2016, the author traveled to Havana to begin preliminary work on an interdisciplinary visual ethnography project. While venturing primarily on foot, he took hundreds of high-resolution photographs and interviewed people at random across several localities about their daily routine, their neighborhood, and their expectations about what was to come following the [then] normalizing of relations with the United States. Of the utmost importance to this work was the special attention granted to the inhabited locale where each photograph and interview took place. This article explores these photographs through the lens of the “event of photography,” a term emphasizing the temporal moment when a photographer, photographed subject, and camera encounter one another. With this interpretation, photographs are positioned as historical documents and the practice of photography as a civil and political matter, thus inviting new possibilities to read political life through its visual dimension, as well as to trace different forms of power relations made evident during the ‘event.’ This paper uses phenomenological reflection to explore the meshwork manifestation of these power relations, and articulate how they provide insights about one’s place and responsibility within that ‘event’ in a range of relational contexts.
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Wibisono, Sony. "Photography as Cinematic Ekphrasis: Intermedial Study in Garin Nugroho’s Opera Jawa." Harmonia: Journal of Arts Research and Education 23, no. 1 (June 29, 2023): 64–78. http://dx.doi.org/10.15294/harmonia.v23i1.39633.
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The Opera Jawa (2006), directed by Garin Nugroho is an Indonesian film with unique hybridity of art media (music, dance, visual art installation, acting, photography). This study aims to provide an overview of photographic ekphrasis’s form, process, and function. This research used a descriptive qualitative method. Data collection was through observation with the note-taking documentation technique. Through intermedial studies, data analysis was carried out using Agnes Petho’s cinematic ekphrasis and photo-filmic theory. The results of the study show that Opera Jawa displays the characteristics of intermedial reference media through cinematic ekphrasis of photography in film. This matter is manifested at the diegetic media level through family photos of the character Setyo-Siti, and the extra-diegetic media through photographic frames introducing film characters. Cinematic Ekphrasis works with exchange strategies and crossing the borders of basic media modalities (material, sensory, space-time, semiotic) from film to photography. Cinematic ekphrasis ultimately forms a metaphor that mediates the experience and knowledge of film audiences toward the target media and the source media. Thus, Opera Jawa, as the target media, can offer its ideology as a result of Sinta Obong’s source media interpretation.
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Dias, Jill R. "Photographic Sources for the History of Portuguese-Speaking Africa, 1870-1914." History in Africa 18 (1991): 67–82. http://dx.doi.org/10.2307/3172054.
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The wealth of the photographic record of Portuguese Africa in the nineteenth and early twentieth centuries is only beginning to be appreciated. Until recently it was not only ignored but totally neglected. As a result much has been destroyed. The full extent of the surviving material is, as yet, unknown. Collections of photographs are dispersed in various archives, libraries, and private collections throughout Portugal. In most cases almost nothing is known of the photographers or of the circumstances in which then-work was produced. The photographs themselves have not been studied, so that the work of dating and evaluating their content has yet to be done.In this paper then I can present only a very preliminary and incomplete survey and exploration of some of the very diverse categories of photographic sources available for the history of Portuguese-speaking Africa between the 1870s and early 1920s, concentrating particularly on Angola and Mozambique. Whenever possible I also try to draw attention to some of the practical and theoretical problems involved in their interpretation as a step towards assessing more accurately their historical and sociological value.
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Kratz, Corinne A. "Okiek Portraits: Représentation, Mediation, and Interpretation in a Photographic Exhibition." Cahiers d’études africaines 36, no. 141 (1996): 51–79. http://dx.doi.org/10.3406/cea.1996.2001.
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Campbell, James B. "Origins of Aerial Photographic Interpretation, U.S. Army, 1916 to 1918." Photogrammetric Engineering & Remote Sensing 74, no. 1 (January 1, 2008): 77–93. http://dx.doi.org/10.14358/pers.74.1.77.
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Lehna, Carlee, Stephanie Twyman, and John Myers. "Using photographic interpretation to evaluate the safety of home environments." Preventive Medicine Reports 4 (December 2016): 459–62. http://dx.doi.org/10.1016/j.pmedr.2016.08.014.
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Rashid, Umer, Aiman Javid, Abdur Rehman Khan, Leo Liu, Adeel Ahmed, Osman Khalid, Khalid Saleem, Shaista Meraj, Uzair Iqbal, and Raheel Nawaz. "A hybrid mask RCNN-based tool to localize dental cavities from real-time mixed photographic images." PeerJ Computer Science 8 (February 18, 2022): e888. http://dx.doi.org/10.7717/peerj-cs.888.
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Nearly 3.5 billion humans have oral health issues, including dental caries, which requires dentist-patient exposure in oral examinations. The automated approaches identify and locate carious regions from dental images by localizing and processing either colored photographs or X-ray images taken via specialized dental photography cameras. The dentists’ interpretation of carious regions is difficult since the detected regions are masked using solid coloring and limited to a particular dental image type. The software-based automated tools to localize caries from dental images taken via ordinary cameras requires further investigation. This research provided a mixed dataset of dental photographic (colored or X-ray) images, instantiated a deep learning approach to enhance the existing dental image carious regions’ localization procedure, and implemented a full-fledged tool to present carious regions via simple dental images automatically. The instantiation mainly exploits the mixed dataset of dental images (colored photographs or X-rays) collected from multiple sources and pre-trained hybrid Mask RCNN to localize dental carious regions. The evaluations performed by the dentists showed that the correctness of annotated datasets is up to 96%, and the accuracy of the proposed system is between 78% and 92%. Moreover, the system achieved the overall satisfaction level of dentists above 80%.
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Pernia, E. "Small-format aerial photographic systems for the evaluation of forest resources in Latin America." Forest Systems 6, no. 1 (December 1, 1997): 229–45. http://dx.doi.org/10.5424/585.
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For several decades, 35 and 70 mm aerial photographic systems have been used in North America, Europe and other regions, for the acquisition of forest resources information on relatively small extension areas. On the contrary, in Latin America, where there is a lack of information about those resources, the small-format systems have recieved limited use. In part, this is situation is due to the scant knowledge that exists in the region about the potential these systems have and the ways of using them. The purpose of this article is to provide personnel and institutions involved in the evaluation and monitoring of forest resources with basic information and support references about the general characetristics, the integration of small-format aerial photographic systems, the planning and execution of missions of this type, the interpretation and restitution of 35 and 70 mm photographs, and applications in forestry.
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Carnevali, L., F. Lanfranchi, L. Martelli, and M. Martelli. "COLOURIMETRIC CALIBRATION FOR PHOTOGRAPHY, PHOTOGRAMMETRY, AND PHOTOMODELLING WITHIN ARCHITECTURAL SURVEY." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-4/W5-2021 (December 23, 2021): 151–58. http://dx.doi.org/10.5194/isprs-archives-xlvi-4-w5-2021-151-2021.
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Abstract. In accordance with the “Declaration of Rome on architectural survey”, we can affirm that recording and interpretation of colour information in photographic surveying, in photogrammetric surveying and in photomodelling requires careful planning of Colour Imaging processes. Information acquired by an optical sensor is influenced not just by the actual photographed scene, but also by the spectral sensitivity of the sensor. We have adopted, from the field of Cultural Heritage, a method of colourimetric calibration for digital photographs and have proposed some adjustments to finalise this process for the purposes of Architectural Survey. With the use of a colourimetric target and a non-linear transformation algorithm, our Colour Imaging method statistically reconstructs colours conventionally unrecordable by a commercial camera. In addition, this method reconstructs colours as if the photographed object were exposed to a standard illuminant, assessing a colour error parameter value for each photo. By including the colourimetric target in every shot and by applying the calibration algorithm to all photographs taken, the process correlates all data sets to a single standard illuminant: regarding photomodelling, this leads to a more uniform and detailed representation of the surfaces of virtual models. We present two successful examples of application: one focused on a design object with physioplastic decoration and another regarding a circular fountain in a historic villa.
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Węgorowska, Katarzyna. "Album „Wilno i Wileńszczyzna na przełomie wieków w fotografii Stanisława Filiberta Fleury (1858–1915)“ inspiracją lingwokulturologicznych refleksji." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 60, no. 3 (December 21, 2023): 55–85. http://dx.doi.org/10.36770/bp.822.
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Photographs from years gone by have always been a source of valuable retrospective documents. With the passage of time, however, it has become considerably difficult to read and interpret those which were not signed or described. This is because the task is usually undertaken by people who did not always live in the times that had been recorded in the photographs. This is also true of the daguerreotypes by Stanislas Filibert Fleury that have been included in a separate album monograph devoted to them. Their reading and interpretation, however, are made possible by the verbal, ancient and contemporary, commentaries that supplement almost every photograph included in this proposal. The aim of the present considerations, therefore, is to make linguocultural remarks about the “linguistic data” recorded in such “photographic” commentaries, owing to which it becomes possible to reconstruct Vilnius and the Vilnius region of the times Stanislaw Filibert Fleury lived in. The names of places, physiographic objects, other objects, various details, people… which are their representations, make it possible for that northern borderline reality, which survived by means of the correlation of image, word and memory, to be saved from being forgotten.
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He, Yuanrong, Weiwei Ma, Zelong Ma, Wenjie Fu, Chihcheng Chen, Cheng-Fu Yang, and Zhen Liu. "Using Unmanned Aerial Vehicle Remote Sensing and a Monitoring Information System to Enhance the Management of Unauthorized Structures." Applied Sciences 9, no. 22 (November 18, 2019): 4954. http://dx.doi.org/10.3390/app9224954.
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In this research, we investigated using unmanned aerial vehicle (UAV) photographic technology to prevent the further expansion of unauthorized construction and thereby reduce postdisaster losses. First, UAV dynamic aerial photography was used to obtain dynamic digital surface model (DSM) data and elevation changes of 2–8 m as the initial sieve target. Then, two periods of dynamic orthophoto images were superimposed for human–computer interaction interpretation, so we could quickly distinguish buildings undergoing expansion, new construction, or demolition. At the same time, mobile geographic information system (GIS) software was used to survey the field, and the information gathered was developed to support unauthorized construction detection. Finally, aerial images, interpretation results, and ground survey information were integrated and released on WebGIS to build a regulatory platform that can achieve accurate management and effectively prevent violations.
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Payne-James, J. Jason, Chloe Hawkins, Sonya Baylis, and Nicholas P. Marsh. "Quality of photographic images provided for injury interpretation: room for improvement?" Forensic Science, Medicine, and Pathology 8, no. 4 (March 6, 2012): 447–50. http://dx.doi.org/10.1007/s12024-012-9325-2.
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Ge, Xiaofang. "Photographic aesthetics: limits, features of interpretation and role in creative process." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 1-2 (2023): 172–86. http://dx.doi.org/10.37485/1997-4663_2022_1_2_172_186.
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Wergin, William P., and Christopher D. Pooley. "Artifacts in microscopy: Photography and interpretation." Proceedings, annual meeting, Electron Microscopy Society of America 49 (August 1991): 344–45. http://dx.doi.org/10.1017/s0424820100086027.
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For the biologist, artifacts can be defined as any manifestations that result from mechanical manipulations or chemical reagents and are not representative of authentic structural relationships. In electron microscopy, living biological tissues are generally sampled, fixed, frozen, dehydrated, embedded, critical point dried, sectioned, mounted, stained, and/or coated - mechanical and chemical manipulations that undoubtedly produce artifacts. However, potential problems do not end once the specimen is in the microscope, because numerous artifacts, which we will classify as photographic and interpretive, are also associated with recording images, processing films, printing negatives, and understanding the final print. Artifacts associated with these four procedures will be addressed in this discussion.
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Valente-Aguiar, Murilo Sérgio, and Talita Lima de Castro-Espicalsky. "What Are the Expectations of Legal Operators and Forensic Experts Regarding Photographic Documentation of Violent Death Autopsies?" Forensic Sciences 1, no. 3 (October 24, 2021): 171–80. http://dx.doi.org/10.3390/forensicsci1030015.
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The purpose of photography in violent death autopsies is to document the material evidence of the offense and guide decisions in the courts of law. The aim of the present study was to obtain the expectations of legal operators and forensic experts regarding what is expected as adequate photographic documentation in violent death forensics. For this purpose, a survey was prepared through an online form available on the “Google Forms” platform, whose link was sent by e-mail and by the WhatsApp Messenger® application. The 102 participants were divided into two distinct groups: legal practitioners, interested in the materialization of evidence (judges, prosecutors, criminal lawyers and police chiefs), and forensic experts, responsible for materializing the evidence (medical examiners, forensic dentists and criminal experts). The research showed that the inclusion of color photographs in the expert reports is essential for all research participants, as well as the marking of evidence in the images and the inclusion of explanatory text in the captions. It was also pointed out as fundamental for most participants to insert an image with simulation of the firearm bullets’ path, when applicable. In relation to the other aspects, it can be observed that the opinions of the participants were divergent between the groups of research professionals, especially regarding the size of the image to be incorporated in the reports. The differences found between the groups can be detrimental to the proper interpretation and judgment of evidence in the courts. Considering the found barriers, the authors suggest a form of photographic documentation that meets all expectations in a consensual way.
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Kelly, A., L. C. Maia, R. R. Luiz, R. B. C. Vianna, L. E. L. P. Quintanilha, and A. G. Antonio. "Reliability Assessment of a Plaque Scoring Index Using Photographs." Methods of Information in Medicine 47, no. 05 (2008): 443–47. http://dx.doi.org/10.3414/me0523.
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Summary Objectives: The need to evaluate the reliability of a clinical index before using it as a research tool is clearly recognized. Therefore the aim of this study was to evaluate whether a new calibration method by means of photographs would be useful for assessing the examiners’ reliability in the interpretation of a plaque index. Methods: Nine children were randomly recruited from a public school in Rio de Janeiro, Brazil. Two trained examiners evaluated these children for dental plaque, in a classroom environment, in order to record plaque scores. The children’s teeth were dyed and colored photographs were taken of all tooth surfaces using a camera, mouth mirrors and lip retractors. The photographs were evaluated to select and identify the best visible tooth surfaces, and the final sample consisted of 343 tooth surfaces. One week after the clinical examination, both examiners scored the tooth surfaces from the photographs according to the index used. The intra and inter-examiner agreements were measured by intra-class correlation coefficient (ICC) for individual mean scores and for tooth surfaces scores. Results: The data showed an excellent agreement (ICC > 0.80) between clinical and photographic examinations, for both examiners, both for tooth surface and patient analysis. The statistics also demonstrated excellent (ICC > 0.80) inter-examiner agreement on clinical and photographic examinations. Conclusion: The method seems to be an effective technique to evaluate the reliability of the plaque index, improving the reproducibility of epidemiological studies.