Relevant bibliographies by topics / Photographs and videos

Contents

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

Academic literature on the topic 'Photographs and videos'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Photographs and videos"

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Sebastian, Maciej, Agata Sebastian, and Jerzy Rudnicki. "Recommendation for Photographic Documentation of Safe Laparoscopic Cholecystectomy." World Journal of Surgery 45, no. 1 (September 4, 2020): 81–87. http://dx.doi.org/10.1007/s00268-020-05776-9.

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Abstract Background Bile duct injury and vasculobiliary injury are possible complications during laparoscopic cholecystectomy which can lead to increased morbidity, mortality, costs of hospitalization and litigation. Proper documentation of the critical view of safety and safe plane of dissection may play a crucial role for archivization, teaching and medicolegal purposes. Methods The study group consisted of 100 patients with symptomatic cholecystolithiasis qualified for laparoscopic cholecystectomy. The critical view of safety was documented on two photographs and safe plain of dissection obtained with laparoscopic ultrasound was documented on one photograph as well as the whole procedure was recorded. The photographs were printed in the operating theatre and videos were stored on an external hard drive. Results The mean time to obtain and analyse photographs was significantly shorter than video, and the size of the stored data was significantly smaller for photographs than videos. The cost of one documentation procedure was significantly lower for video than photographs. Critical view of safety was obtained in 91 patients, and laparoscopic ultrasound was successful in 99 patients. The conversion rate was 2%, and fundus-first cholecystectomies were performed in 6% of patients. We did not observe any biliary and vascular complications. Conclusions Photographic documentation of the critical view of safety and safe plane of dissection should be an inherent part of laparoscopic cholecystectomy. Our proposal of documentation prepared in the operating theatre and stored in the patient’s documentation is an example of an easy, fast and cheap method of data archivization.
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Pevec, Iza, and Lukas Birk. "Keeping a Story Alive: Interview with Lukas Birk." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 4–13. http://dx.doi.org/10.47659/m5.004.int.

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The work of an Austrian artist Lukas Birk can be connected to some dilemmas of documentary photography. If the critique of the classical documentary photography stresses the responsibility towards the photographed subject and the problem of the exoticization for the western view, Birk’s work is often developed, displayed and distributed in the place where his projects are created. Therefore, the first audience of his projects are locals and are, in that way, maybe more closely connected to the project itself. He co-founded the Austro Sino Arts Program in China and founded a residency program SewonArtSpace in Yogyakarta, Indonesia. The project Afghan Box Camera, which he developed with the ethnographer Sean Folley, focuses on the photographic praxis in Afghanistan, mainly on the type of a simple instant camera, which was traditionally used there but its use is now in decline. They investigated the origins, techniques and the many personal stories of the photographers using or having used this type of camera and also made instructional videos on how to build or use one. Attention to the overlooked photographic practices, history and contexts marks also his current project The Myanmar Photo Archive, a growing collection of Myanmar photographs that were created during and after the colonial period – the work of local photographers from that period has namely remained unknown until today. Keywords: local history, Myanmar photography, photographic backdrop, western view
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Chandrappa, Ashok Basur, Pradeep Kumar Nagaraj, Srikanth Vasudevan, Anantheswar Yelampalli Nagaraj, Krithika Jagadish, and Ankit Shah. "Use of selfie sticks and iPhones to record operative photos and videos in plastic surgery." Indian Journal of Plastic Surgery 50, no. 01 (January 2017): 082–84. http://dx.doi.org/10.4103/ijps.ijps_26_17.

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ABSTRACTUse of smartphone has become ubiquitous. With smartphone cameras becoming powerful, they are replacing digital cameras and digital SLRs as primary instruments to take photos and record videos. It is natural even for plastic surgeons that smartphones are handy to take still photographs and even record high-definition or 4K videos. Another invention which has become popular with smartphone photography is a selfie stick. We explain the possibility and methodology of using an iPhone and selfie stick to take operative photographs and high-quality videos.
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McHugh, Susan. "Video Dog Star: William Wegman, Aesthetic Agency, and the Animal in Experimental Video Art." Society & Animals 9, no. 3 (2001): 229–51. http://dx.doi.org/10.1163/156853001753644390.

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AbstractThe canine photographs, videos, and photographic narratives of artist William Wegman frame questions of animal aesthetic agency. Over the past 30 years, Wegman's dog images shift in form and content in ways that reflect the artist's increasing anxiety over his control of the art-making process once he becomes identified, in his own words, as "the dog photographer". Wegman's dog images claim unique cultural prominence, appearing regularly in fine art museums as well as on broadcast television. But, as Wegman comes to use these images to document his own transition from dog photographer to dog breeder, these texts also reflect increasing restrictions on what I term the "pack aesthetics," or collaborative production of art and artistic agency, that distinguish some of the early pieces. Accounting for the correlations between multiple and mongrel dogs in Wegman's experimental video work and exclusively Weimaraner-breed dogs with human bodies in his recent work in large-format Polaroid photography, this article explores how Wegman's work with his "video dog star," his first Weimaraner dog Man Ray, troubles the erasure of the animal in contemporary conceptions of artistic authority.
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Houkin, Kiyohiro, and Satoshi Kuroda. "Digital recording in microsurgery." Journal of Neurosurgery 92, no. 1 (January 2000): 176–80. http://dx.doi.org/10.3171/jns.2000.92.1.0176.

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✓ The authors examine the quality of intraoperative photography in which digital recording technology, including a microdigital camera and digital video paired with an operating microscope, is used during neurosurgery. A microdigital camera developed for this purpose (1.4 million pixels) was attached to an operating microscope and used during surgery. The same surgical views with precisely the same optical conditions were taken through the microscope by using both a conventional 35-mm camera and the microdigital camera, and the quality of the final output was compared. In addition, the quality of the digital camera photographs was compared with the still photograph clipped from the digital video recording.The quality of the photographs taken with a microdigital camera was superior to the quality of those obtained with the conventional 35-mm camera. The success rate of recording (what you see is what you get) was almost 100%. The quality of the still photographs clipped from the digital video was nearly equal to those taken with the digital camera. The microdigital camera system is superior to the conventional 35-mm camera in neurosurgery in terms of its success rate and the quality of the photography. It is also a space-saving system for storing the huge amount of data generated in the recording of surgical procedures, and the cost/performance ratio is superior to that of the conventional method. Digital technology including digital cameras and videos is very useful for clear recording of microsurgical procedures.
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Hood, C. A., T. Hope, and P. Dove. "Videos, photographs, and patient consent." BMJ 316, no. 7136 (March 28, 1998): 1009–11. http://dx.doi.org/10.1136/bmj.316.7136.1009.

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Pallen, M., N. Loman, D. Nicholl, D. Davies, P. J. Buxton, D. J. Vasallo, J. H. Kilbey, and P. D. Welsby. "Videos, photographs, and patient consent." BMJ 317, no. 7171 (November 28, 1998): 1522. http://dx.doi.org/10.1136/bmj.317.7171.1522.

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Derr, Robert Ladislas. "Artist, Robert Ladislas Derr uses die rolls and cameras to map his walk through cities worldwide." Surveillance & Society 7, no. 2 (June 5, 2009): 94–97. http://dx.doi.org/10.24908/ss.v7i2.4135.

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Chance, psychogeographical walk performances through cities with the direction determined by viewers’ die rolls. The die indicates that Derr move forward, backward, right, left, spin, and stand in place. He accepts thirty die rolls and then proceeds on the walk wearing four video cameras. When spin or stand in place are the command, he completes each for one minute. The directional commands take him to the next intersection. After walking with the video cameras, Derr returns to each intersection encountered and photographs the four views, creating a photographic cartography as well. The final videos are exhibited in an immersive four-channel video installation.
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Raveane, William, Pedro Luis Galdámez, and María Angélica González Arrieta. "Ear Detection and Localization with Convolutional Neural Networks in Natural Images and Videos." Processes 7, no. 7 (July 17, 2019): 457. http://dx.doi.org/10.3390/pr7070457.

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The difficulty in precisely detecting and locating an ear within an image is the first step to tackle in an ear-based biometric recognition system, a challenge which increases in difficulty when working with variable photographic conditions. This is in part due to the irregular shapes of human ears, but also because of variable lighting conditions and the ever changing profile shape of an ear’s projection when photographed. An ear detection system involving multiple convolutional neural networks and a detection grouping algorithm is proposed to identify the presence and location of an ear in a given input image. The proposed method matches the performance of other methods when analyzed against clean and purpose-shot photographs, reaching an accuracy of upwards of 98%, but clearly outperforms them with a rate of over 86% when the system is subjected to non-cooperative natural images where the subject appears in challenging orientations and photographic conditions.
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Et.al, Vishesh Kumar Sharma. "Focaltheorem – A portfolio Web Application." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 10, 2021): 3809–14. http://dx.doi.org/10.17762/turcomat.v12i3.1667.

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This project is used to upload photos and videos easily through one platform. We deployed this in cloud so it is very easy to use and accessible to others. In this we use the technology of web development. So this portfolio is very helpful for photographers for uploading any photographs. Platform gives clients free, limitless capacity for photographs up to 16 megapixels and recordings up to 1080p goal. The help consequently breaks down photographs, distinguishing different visual highlights and subjects. Clients can look for anything in photographs, with the assistance returning outcomes from three significant classifications: People, Places, and Things. Stage perceives faces, gathering comparative ones (this component is just accessible in specific places because of protection laws), geographic tourist spots, and subject matter, including college events in Galgotias University, Uni-Fests, Club Events, F1 Race, Food-Fest, and more.
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Dissertations / Theses on the topic "Photographs and videos"

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Morago, Brittany. "Multi-Modality Fusion| Registering Photographs, Videos, and Lidar Range Scans." Thesis, University of Missouri - Columbia, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10629015.

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2D images and 3D LIDAR range scans provide very different but complementing information about a single subject and, when registered, can be used for a variety of exciting applications. Video sets can be fused with a 3D model and played in a single multi-dimensional environment. Imagery with temporal changes can be visualized simultaneously, unveiling changes in architecture, foliage, and human activity. Depth information for 2D photos and videos can be computed. Real-world measurements can be provided to users through simple interactions with traditional photographs. However, fusing multi-modality data is a very challenging task given the repetition and ambiguity that often occur in man-made scenes as well as the variety of properties different renderings of the same subject can possess. Image sets collected over a period of time during which the lighting conditions and scene content may have changed, different artistic renderings, varying sensor types, focal lengths, and exposure values can all contribute to visual variations in data sets. This dissertation addresses these obstacles using the common theme of incorporating contextual information to visualize regional properties that intuitively exist in each imagery source. We combine hard features that quantify the strong, stable edges that are often present in imagery along object boundaries and depth changes with soft features that capture distinctive texture information that can be unique to specific areas. We show that our detector and descriptor techniques can provide more accurate keypoint match sets between highly varying imagery than many traditional and state-of-the-art techniques, allowing us to fuse and align photographs, videos, and range scans containing both man-made and natural content.

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Dupont, de Dinechin Grégoire. "Towards comfortable virtual reality viewing of virtual environments created from photographs of the real world." Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLM049.

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La reconstitution en réalité virtuelle de lieux, personnes, et objets réels ouvre la voie à de nombreux usages, tels que préserver et promouvoir des sites culturels, générer des avatars photoréalistes pour se retrouver virtuellement avec famille et amis à distance, ou encore recréer des lieux ou situations spécifiques à des fins thérapeutiques ou de formation. Tout cela s'appuie sur notre capacité à transformer des images du monde réel (photos et vidéos) en environnements 360° immersifs et objets 3D interactifs. Cependant, ces environnements virtuels à base d'images demeurent souvent imparfaits, et peuvent ainsi rendre le visionnage en réalité virtuelle inconfortable pour les utilisateurs. En particulier, il est difficile de reconstituer avec précision la géométrie d'une scène réelle, et souvent de nombreuses approximations sont ainsi faites qui peuvent être source d'inconfort lors de l'observation ou du déplacement. De même, il est difficile de restituer fidèlement l'aspect visuel de la scène : les méthodes classiques ne peuvent ainsi restituer certains effets visuels complexes tels que transparence et réflexions spéculaires, tandis que les algorithmes de rendu plus spécialisés ont tendance à générer des artefacts visuels et peuvent être source de latence. Par ailleurs, ces problèmes deviennent d'autant plus complexes lorsqu'il s'agit de reconstituer des personnes, l'oeil humain étant très sensible aux défauts dans l'apparence ou le comportement de personnages virtuels. Par conséquent, l'objectif de cette thèse est d'étudier les méthodes permettant de rendre les utilisateurs plus confortables lors du visionnage immersif de reconstitutions digitales du monde réel, par l'amélioration et le développement de nouvelles méthodes de création d'environnements virtuels à partir de photos. Nous démontrons et évaluons ainsi des solutions permettant (1) de fournir une meilleure parallaxe de mouvement lors du visionnage d'images 360°, par le biais d'une interface immersive pour l'estimation de cartes de profondeur, (2) de générer automatiquement des agents virtuels 3D capables d'interaction à partir de vidéos 360°, en combinant des modèles pré-entrainés d'apprentissage profond, et (3) de restituer des effets visuels de façon photoréaliste en réalité virtuelle, par le développement d'outils que nous appliquons ensuite pour recréer virtuellement la collection d'un musée de minéralogie. Nous évaluons chaque approche par le biais d'études utilisateur, et rendons notre code accessible sous forme d'outils open source
There are many applications to capturing and digitally recreating real-world people and places for virtual reality (VR), such as preserving and promoting cultural heritage sites, placing users face-to-face with faraway family and friends, and creating photorealistic replicas of specific locations for therapy and training. This is typically done by transforming sets of input images, i.e. photographs and videos, into immersive 360° scenes and interactive 3D objects. However, such image-based virtual environments are often flawed such that they fail to provide users with a comfortable viewing experience. In particular, accurately recovering the scene's 3D geometry is a difficult task, causing many existing approaches to make approximations that are likely to cause discomfort, e.g. as the scene appears distorted or seems to move with the viewer during head motion. In the same way, existing solutions most often fail to accurately render the scene's visual appearance in a comfortable fashion. Standard 3D reconstruction pipelines thus commonly average out captured view-dependent effects such as specular reflections, whereas complex image-based rendering algorithms often fail to achieve VR-compatible framerates, and are likely to cause distracting visual artifacts outside of a small range of head motion. Finally, further complications arise when the goal is to virtually recreate people, as inaccuracies in the appearance of the displayed 3D characters or unconvincing responsive behavior may be additional sources of unease. Therefore, in this thesis, we investigate the extent to which users can be made more comfortable when viewing digital replicas of the real world in VR, by enhancing, combining, and designing new solutions for creating virtual environments from input sets of photographs. We thus demonstrate and evaluate solutions for (1) providing motion parallax during the viewing of 360° images, using a VR interface for estimating depth information, (2) automatically generating responsive 3D virtual agents from 360° videos, by combining pre-trained deep learning networks, and (3) rendering captured view-dependent effects at high framerates in a game engine widely used for VR development, which we apply to digitally recreate a museum's mineralogy collection. We evaluate and discuss each approach by way of user studies, and make our codebase available as an open-source toolkit
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Alhazmi, Nouran Husain. "Maintenance as Spectacle: Imagery of the Ka’ba’s Cleaning and Kiswa." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1618917807830704.

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Gregory, Ronald Joseph. "Test target display : an M.F.A. photography portfolio as applied to optical laser disc /." Online version of thesis, 1987. http://hdl.handle.net/1850/10314.

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Park, Ja Yong. "Aux frontières du virtuel : depuis ma fenêtre." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010558.

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Nous nous situons toujours «aux frontières de» pour contempler : devant une porte, une fenêtre, un cadre, un espace ou un miroir. Ma réflexion commence à partir de ma fenêtre, mon espace intime. « Aux frontières du virtuel : depuis ma fenêtre » nous incite à tenter de découvrir où se cache la gravité des choses, où se situe l'essence même des choses où leur «existence pure», à travers la notion de virtuel si difficilement perceptible. Cette thèse s'articule en trois grandes parties : Virtualité espace interne et externe ; Virtualité : l'apparition par-delà : photographies et reflets dans l’art ; Virtualité : au-delà de la disparition. Dans la philosophie orientale (Taoïsme et Bouddhisme) et la philosophie occidentale, la notion de virtuel concerne tous les phénomènes universels qui nous entourent, y compris ce qui a trait à notre propre regard ou à notre esprit. Elle évoque quelques concepts contradictoires : «le visible et l’invisible», «la présence et l’absence», «l’apparition et la disparition», «l’émergence et l’évanescence», etc. Elles les lie l’un et l’autre comme les deux faces d’une même monnaie. En Orient, le virtuel peut se retrouver dans la notion de vide qui est intimement liée à celle d'existence, comme cette recherche qui concerne ce qui n’est pas toujours visible, peu souvent perceptible par un regard. Dans la peinture Shansuie, le vide peut signifier un nuage, le vent ou l’eau. Nous nous situons toujours dans une transition temporelle ou un passage physique où il est difficile de percevoir ce qui va apparaitre et ce qui est présent, face à nous
We always situate "the borders" to contemplate: a front door, a window, a frame, a space or a mirror. My reflection starts from my window, my intimate space. "In the virtual borders: from my window'' drives us to try to find out where things gravity hiding or is the essence of things or their "pure existence" through the concept of virtual which is hardly noticeable. This thesis has three main parts: Virtuality: internal and external space; Virtuality: the appearance beyond: photographs and reflections in the art; virtuality beyond the disappearance. In Eastern philosophy (Buddhism and Taoism) and Western philosophy, the concept of virtual respect all universal phenomena around us, including respect to our own eyes or mind. It evokes some conflicting concepts: "the visible and the invisible", "the presence and absence", "The appearance and disappearance", "the emergence and evanescence" etc. It binds both of them as two sides of the same coin. In the Eastern countries, the virtual can be found in the vacuum concept which is intimately linked to that of existence, as this research regarding what is not always visible, rarely discernible by eye. In painting Shan shui, the vacuum may mean a cloud, wind or water. We always situate in a time of transition or a physical place where it is difficult to see what will appear and what is present, facing us
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Glen, Gregory D. "High-Speed Photography Using Television Techniques." International Foundation for Telemetering, 1995. http://hdl.handle.net/10150/611602.

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International Telemetering Conference Proceedings / October 30-November 02, 1995 / Riviera Hotel, Las Vegas, Nevada
There are many applications for High-speed photography, and most rely on film as the primary medium of data acquisition. One such application of interest to the military services is the study of stores separation from aircraft. This type of testing has traditionally used high-speed film to gather data, however, there are many disadvantages to using film, such as the high cost of raw film, as well as the high processing expense after it has been exposed. In addition, there is no way to review data from film until it has been processed, nor is there any way to preview in real-time other conditions such as lighting which may affect the outcome of a test event. This paper discusses the characteristics of television systems with respect to motion picture systems, the challenges of recording and transmitting pictures, as well as the nature of what the first and eventual desired systems might be.
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Thömmes, Katja [Verfasser]. "The Aesthetic Appeal of Photographs : Leveraging Instagram Data in Empirical Aesthetics / Katja Thömmes." Konstanz : KOPS Universität Konstanz, 2020. http://d-nb.info/1226093035/34.

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Thoma, Andrea. "Thought dwellings : time and space in painting, photography and video." Thesis, University of Leeds, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658561.

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The practical and theoretical research of this PhD examines the complexities of time-space relations in painting, photography and video. The aim of this study has been to develop a body of work that generates an increased awareness of how the juxtaposition of diverse fine art media can contribute to a differentiated appreciation of the time-space relation. Further objectives were to explore how the dichotomy of absence (of figuration) and presence (of figurative elements) can inform reflections on place relating to Martin Heidegger's 'Dasein' as being-in-the-world and Gilles Deleuze and Felix Guattari's 'nomadic' perception within 'smooth' and 'striated' space. Drawing from Henri Bergson's concept of 'duration as multiplicity' as an oscillation between presence (actual) and absence (virtual), this study, whilst acknowledging Bergson's critique of spatializing time, considers opportunities within contemporary fine-art practice to develop a spatial configuration involving multiple coexisting durations. Thought Dwellings, initially the title for a body of paintings and photographs (1998) concerned with place, later (since 2003) also began to incorporate video, thus enabling a triangulation of painting, photography and video to consider movement and stillness across all these categories. I propose a new terrain where the either/or/and of photography/painting, photography/video or painting/video becomes this as well as that of painting/photography/video allowing - whilst upholding medium-specificity - the physicality of painting to inform the technologies of lens-based media to arrive at a differentiated time-space relation. These practical concerns are supported by theoretical explorations involving place and dwelling, medium-specificity in a 'post-medium' age, minimalism, phenomenology and time-space relations. Within Deleuzian 'becoming', as coexistence of difference rather than dialectics of either/or; Jacques Derrida's differance and Bracha L. Ettinger's 'Matrix' as coming together of 'I and non-I' to reflect the feminine - Thought Dwellings involves movement between images, an oscillation between presence and absence proposing an audio/visual spatialization of 'duration as multiplicity'.
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Magagnoli, P. "Reclaiming the past : historical representation in contemporary photography and video art." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1355956/.

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Since the late 1990s a new tendency has emerged in contemporary art whereby artists deploy archival research to explore the mechanics of historical representation and evoke the past. This thesis examines the works of some of the most relevant practitioners of the new tendency who are working with video, photography and film and explores the reasons for the return of historical representation in art. In the introduction the study sets the tendency against the background of modernist, postmodernist theories and the historiographic debates of the last thirty years. The first chapter attempts a critical re-evaluation of the concept of nostalgia; by examining the works of Tacita Dean, Joachim Koester, and Matthew Buckingham, a more nuanced concept of nostalgia emerges, for which this approach to the past does not appear as a sentimental and escapist fantasy but, on the contrary, as a strategy to reflect critically on the present and re-imagine the future. In my second chapter I focus on the experimental documentaries of Anri Sala, Walid Raad and Hito Steyerl. These works are based on a sophisticated notion of truth that overcomes the Platonic dualism between truth and appearance. The third chapter considers the photographic archives of Zoe Leonard, Rachel Harrison, and Jean-Luc Moulène. These archives represent recent historical events through the figure of the commodity. I ask whether these works should be considered as amnesiac archives and whether they confirm the Marxist notion of the commodity as memory disturbance. The fourth chapter examines the use of digital images and technologies by Sean Snyder, Hito Steyerl and Paul Chan. These artists challenge the narrative of crisis and catastrophe predominant in 1990s theories of new media, which considered the digital image in term of a profound loss of memory and historicity. The dissertation concludes with a critical assessment of the political importance of the artistic tendency.
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Smith, Ian Richard. "Optimising international links between departments of photography, film and video production." Thesis, University of Southampton, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259958.

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Books on the topic "Photographs and videos"

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Baldridge, Aimee. Organize your digital life: How to store your photographs, music, videos, and personal documents in a digital world. Washington, D.C: National Geographic, 2009.

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Organize your digital life: How to store your photographs, music, videos, and personal documents in a digital world. Washington, D.C: National Geographic, 2009.

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Baldridge, Aimee. Organize your digital life: How to store your photographs, music, videos, and personal documents in a digital world. Washington, D.C: National Geographic, 2009.

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Ray, Sidney F. Applied photographic optics: Imaging systems for photography, film, and video. London: Focal Press, 1988.

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Video animation and photography. North Mankato, Minnesota: Rourke Educational Media, 2018.

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Wedding photography and video. New York: Allworth Press, 1994.

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Drew, Marian. Marian Drew: Photographs + video works. Bulimba, Qld: Queensland Centre for Photography, 2006.

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Museum, Solomon R. Guggenheim, and Museo Guggenheim Bilbao, eds. Haunted: Contemporary photography, video, performance. New York, N.Y: Guggenheim Museum Publications, 2010.

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IPhone photography & video for dummies. Hoboken, NJ: Wiley, 2010.

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Video. London: Dorling Kindersley, 1996.

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Book chapters on the topic "Photographs and videos"

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Meyer, Jeanine. "Origami Directions: Using Math-Based Line Drawings, Photographs, and Videos." In HTML5 and JavaScript Projects, 225–82. Berkeley, CA: Apress, 2011. http://dx.doi.org/10.1007/978-1-4302-4033-4_7.

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Meyer, Jeanine. "Origami Directions: Using Math-Based Line Drawings, Photographs, and Videos." In HTML5 and JavaScript Projects, 223–89. Berkeley, CA: Apress, 2018. http://dx.doi.org/10.1007/978-1-4842-3864-6_7.

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Sato, Yuri, and Koji Mineshima. "Depicting Negative Information in Photographs, Videos, and Comics: A Preliminary Analysis." In Diagrammatic Representation and Inference, 485–89. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54249-8_40.

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Di Stefano, John. "The Presence of Video." In Photography and Ontology, 104–18. New York, NY: Routledge, 2018. | Series: Routledge history of photography; 4: Routledge, 2018. http://dx.doi.org/10.4324/9781351187756-8.

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Pulli, Kari, and Alejandro Troccoli. "Mobile Computational Photography with FCam." In Registration and Recognition in Images and Videos, 257–81. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-44907-9_11.

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Elmansy, Rafiq. "Shooting and Editing Video." In Developing Professional iPhone Photography, 259–86. Berkeley, CA: Apress, 2017. http://dx.doi.org/10.1007/978-1-4842-3186-9_9.

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Liu, Dongwei, and Reinhard Klette. "Blur Estimation for Natural Edge Appearance in Computational Photography." In Image and Video Technology, 300–310. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92753-4_24.

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Liu, Dongwei, Haokun Geng, and Reinhard Klette. "Star-Effect Simulation for Photography Using Self-calibrated Stereo Vision." In Image and Video Technology, 228–40. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-29451-3_19.

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Jin, Ge, and James K. Hahn. "High-Resolution Video from Series of Still Photographs." In Advances in Visual Computing, 901–10. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11919476_90.

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Buades, A., and J. L. Lisani. "Patch-Based Methods for Video Denoising." In Denoising of Photographic Images and Video, 175–205. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96029-6_7.

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Conference papers on the topic "Photographs and videos"

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Shomin, Michael, and Jonathan Fiene. "Teaching Manipulator Kinematics by Painting With Light." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-47670.

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In this paper, we examine the creation and benefits of a new teaching platform to introduce and reinforce the key concepts of robotic manipulators in an introductory-level robotics course. This system combines a vintage PUMA 260 six-degree-of-freedom robotic arm with modern control circuitry and a Matlab API. The API operates as a servo controller for the robot, thereby allowing students to apply their knowledge of inverse kinematics to a real manipulator arm. To further motivate the exploration of manipulators, we have developed an open-ended project where students engage in the art of three-dimensional light painting. To facilitate this activity, a tricolor LED has been affixed to the end-effector of the robot. With a digital SLR camera, we take a long-exposure photograph as the robot is driven through a trajectory, effectively painting a picture with the end effector. We have also developed a method to quickly assemble pseudo-long-exposure photographs and videos using an inexpensive video camera. We believe this novel setup and project are an effective way to engage and motivate students to learn the underlying math and dynamics of robotic manipulators.
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Schrapp, H., U. Stark, I. Goltz, G. Kosyna, and S. Bross. "Structure of the Rotor Tip Flow in a Highly-Loaded Single-Stage Axial-Flow Pump Approaching Stall: Part I — Breakdown of the Tip-Clearance Vortex." In ASME 2004 Heat Transfer/Fluids Engineering Summer Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ht-fed2004-56780.

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Moderate cavitation was used to visualize the tip clearance vortex in a highly-loaded single-stage axial-flow pump. Two different techniques were utilized to produce photographs and videos. From these it was found that for flow rates lower than design an initially well defined clearance vortex undergoes spiral-type vortex breakdown. This result was theoretically confirmed in an approximate manner by solving the Bragg and Hawthorne equation for an isolated vortex with a measured casingwall pressure distribution as a prescribed boundary condition.
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Kelm, Pascal, Sebastian Schmiedeke, and Thomas Sikora. "A hierarchical, multi-modal approach for placing videos on the map using millions of Flickr photographs." In the 2011 ACM workshop. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2072627.2072634.

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Mehdizadeh, N. Z., and S. Chandra. "Effect of Impact Velocity and Substrate Temperature on Boiling of Water Droplets Impinging on a Hot Stainless Steel Surface." In ASME 2004 Heat Transfer/Fluids Engineering Summer Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ht-fed2004-56179.

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We photographed high velocity impact of small water droplets (0.55 mm) on a heated stainless steel surface. To achieve high impact velocities the test surface was mounted on the rim of a rotating flywheel, giving linear velocities of up to 50 m/s. Two cartridge heaters were inserted in the substrate and used to vary substrate temperature. A CCD video camera was used to photograph droplets impinging on the substrate. By synchronizing the ejection of a single droplet with the position of the rotating flywheel and triggering of the camera, different stages of droplet impact were photographed. Substrate temperature was varied from 100–240°C and the impact velocity from 10–30 m/s. High-resolution photographs were taken of vapor bubbles nucleating sites inside the thin films produced by spreading droplets. For a given impact velocity, the extent of droplet spreading increased with substrate temperature. The superheat needed to initiate bubble nucleation decreased with impact velocity. We derived an analytical expression for the amount of superheat required for vapor bubble nucleation as a function of impact velocity.
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Uğur, Latif Onur, and Kadir Penbe. "A Social Media Supported Distance Education Application for the Building Cost Course Given in Civil Engineering Education During the COVID 19 Quarantine." In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021tr0030n9.

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A distance education application in Düzce University within the Fall Semester, which started in September 2020, constitutes the main subject of this study. 118 students chose the Construction Cost course, which is one of the fourth year elective courses in Civil Engineering, this term. In addition to the lectures given within the Düzce University Distance Education Center (UZEM), different applications have been made / made through a social media (Whatsapp) group in which all students participated. With the help of additional videos, audio and written messages, an application was made based on increasing the communication opportunities with the participant students, teachers and other students, and developing a civil engineering culture. By increasing motivation with research assignments including construction industry practices and problems, monitoring documentary construction projects, interesting photographs and videos; The aim is to follow a lesson close to formal education for students who are encouraged to learn by experiencing the lesson, to make participatory practices, and to discuss their findings. In the meantime, the importance of first degree health protection was emphasized with information sharing and recommendations on the importance of compliance with COVID 19 measures. It was preferred that the course grades be made on the given homework to reinforce the importance of Self-Learning / Study practices. At the end of the term, it was determined that besides a high success rate, the satisfaction of all students was achieved, and it was concluded that the main objectives were achieved.
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Takamatsu, Misao, Kazuyuki Imaizumi, Akinori Nagai, Takashi Sekine, and Yukimoto Maeda. "Development of Observation Techniques in Reactor Vessel of Experimental Fast Reactor Joyo." In 17th International Conference on Nuclear Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/icone17-75088.

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During the investigation of an incident that occurred with the experimental fast reactor Joyo, In-Vessel Observations (IVO) using a standard Video Camera (VC) and a Radiation-Resistant Fiberscope (RRF) took place at (1) the top of the Sub-Assemblies (S/As) and the In-Vessel Storage rack (IVS), (2) the bottom face of the Upper Core Structure (UCS) under the condition with the level of sodium at −50 mm below the top of the S/As. A simple 6 m overhead view of each S/A, through the fuel handling or inspection holes etc, was photographed using a VC fixed to the Rotating-Plug (R/P) with the acrylic panel for making observations of the top of S/As and IVS. About 650 photographs were required to create a composite photograph of the top of the entire S/As and IVS, and a resolution was estimated to be approximately 1mm. In order to observe the bottom face of the UCS, a Remote Handling Device (RHD) equipped with RRFs (approximately 13 m long) was specifically developed for Joyo with a tip that could be bent into an L-shape and inserted into the 70 mm gap between the top of the S/As and the bottom of the UCS. A total of about 35,000 photographs were needed for the full investigation. Regarding the resolution, the sodium flow regulating grid of 0.8mm in thickness could be discriminated, and the base of thermocouple sleeves 6 mm in diameter located 450 mm above the top of S/As were also clearly observed. In both types of observations, it was confirmed that lighting adjustments play a critical role. Particularly in narrow space observations, scattered lighting with automatic dimming controlled light source was available for achieving close observations of the in-vessel structures. In addition to the successful result of the incident investigation, these experiments provided valuable insights for use in further improving and verifying in-vessel observation techniques in Sodium cooled Fast Reactors (SFRs).
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Wallace, Rebekah. "P62 Is the use of patient simulation a more effective method of teaching medical students to recognise the early signs of clinical deterioration, compared to using videos and photographs?" In Abstracts of the Association for Simulation Practice in Healthcare Annual Conference, 6th to 7th November 2017, Telford, UK. The Association for Simulated Practice in Healthcare, 2017. http://dx.doi.org/10.1136/bmjstel-2017-aspihconf.144.

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Holloway, Jason, Aswin C. Sankaranarayanan, Ashok Veeraraghavan, and Salil Tambe. "Flutter Shutter Video Camera for compressive sensing of videos." In 2012 IEEE International Conference on Computational Photography (ICCP). IEEE, 2012. http://dx.doi.org/10.1109/iccphot.2012.6215211.

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Essa, Irfan. "Computational photography and video." In the working conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1385569.1385572.

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Liu, Wei, and Hongyun Li. "Time-lapse photography applied to educational videos." In 2012 2nd International Conference on Consumer Electronics, Communications and Networks (CECNet). IEEE, 2012. http://dx.doi.org/10.1109/cecnet.2012.6202303.

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