Relevant bibliographies by topics / Photography and photographs

Contents

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

Academic literature on the topic 'Photography and photographs'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Photography and photographs"

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Sile, Agnese. "Through the mother’s voice: Exposure and intimacy in Lesley McIntyre’s photo project The Time of Her Life and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 24, no. 5 (December 2, 2018): 461–75. http://dx.doi.org/10.1177/1363459318815933.

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When it comes to depicting ill or disabled children, the ethics of representation becomes increasingly complex. The perception of photographs as voyeuristic and objectifying is of particular concern here and resonates with widespread fear about the eroticisation, mistreatment and exploitation of children. Although these fears are reasonable, this view does not take into account the voice and agenda of the photographic subject, disregards the possibility of recognition and the participatory nature of photography. In this article, I focus on photography as a collaborative practice. I analyse two photographic projects by photographers/mothers that document their ill and dying daughters – Lesley McIntyre’s photographic essay The Time of Her Life (2004) and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light (2009). Illness in these projects is not experienced in isolation. Instead, the photographs and accompanying texts provide a space to engage in a dialogue which is built on the interdependency of all the participants of the photographic act – the photographer, the subject of the photograph and the viewer. My aim is to question how these projects construct experiences and articulate private expressions of illness and how the photographs enhance and/or challenge the mother–daughter bond. Alan Radley’s critical analysis of representations of illness, Emmanuel Lévinas’s and Maurice Blanchot’s perspectives on ethical philosophy and visual social semiotics approach developed by Kress and Van Leeuwen provide a guiding framework for this study.
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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (October 1987): 510–18. http://dx.doi.org/10.2307/1159896.

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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa. The information presented here is based on ten years of searching for nineteenth-century photographs made by Sierra Leonean photographers. To locate these pictures, I have visited Freetonians and viewed their family portraits and photograph albums, interviewed contemporary photographers throughout Sierra Leone, and researched in the various colonial archives in England to locate photographs preserved from the period of colonial rule. I have discovered that a community of African photographers has worked in the city of Freetown since the very invention of photography. The article reviews the first phase of this unique photographic tradition, 1850–1918, and focuses on several of the African photographers who worked in Freetown during this period.
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Tomaszczuk, Zbigniew. "PHOTOGRAPHY AS THE EXTENSION OF A BODY." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 134–47. http://dx.doi.org/10.5604/01.3001.0012.9927.

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The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.
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Tomaszczuk, Zbigniew. "Fotografia jako przedłużenie ciała." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 134–49. http://dx.doi.org/10.5604/01.3001.0012.9869.

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The text concerns the performativeness of the process of making photographs. It discusses examples of experiencing photography through such medium as the photographer’s body. The relations between the photographer and the technological changes of photography have been analysed. The main subject is the process of making photographs concluded with a reflection on the relation between the viewer and the large format photographic artwork.
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Huen, Antony. "Photographs, Photography and the Photographer." Wasafiri 34, no. 3 (July 3, 2019): 59–63. http://dx.doi.org/10.1080/02690055.2019.1613016.

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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.

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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the director or the actors, but they are based on the photographer’s own estimations and views. He/she interprets and transmits the performance to the audience with his images, and works in between the theatre and the spectator, but he is not the artistic producer when photograph- ing, the performance is, i.e. he/she has not chosen lights, costumes or set design. Technology has had a significant influence on the theatrical image and pho- tographic equipment. With the development of materials and equipment, the making of theatre photographs has shifted from a static process into a more dynamic one. Finnish theatre photography has reacted quickly to aesthetic trends in both theatre and photography. In the past it was possible to photograph only static or slow-moving objects in a set situation or in a pose. Today, the photographer can move among the actors, photograph fast-moving objects with a handheld camera using the stage lighting without the need for additional lights. The images look more as if they have been taken by an insider, someone who belongs to the team, rather than by an intruder. Theatre photographs are nowadays needed in the same way they have always been needed, as documents of the performance.
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Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (December 1, 2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.

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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.
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Dondero, Maria Giulia. "Photography as a Witness of Theatre." Recherches sémiotiques 28, no. 1-2 (October 7, 2010): 43–57. http://dx.doi.org/10.7202/044587ar.

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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis of photographs taken by Roger Pic in 1957 during the Paris performance of Brecht’s Mother Courage and Her Children by the Berliner Ensemble. This analysis seeks to demonstrate that theatre photography, which often seen as an example of documentary photography, can reach artistic status, provided it relies on enunciative strategies that express what cannot otherwise be photographed in a ‘direct’ manner, namely the characters’ words and emotions.
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Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.

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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing
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Kanicki, Witold, and Geoffrey Batchen. "Magical Thinking: Conversation with Geoffrey Batchen." Magic, Vol. 5, no. 1 (2020): 4–9. http://dx.doi.org/10.47659/m8.004.int.

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His long-standing interest in the history of early photography makes Geoffrey Batchen the appropriate speaker to discuss the question of photographic magic. Therefore, our conversation oscillates between magic and realism, but also other antonyms within the medium: negative and positive, analogue and digital. Taking in consideration all these oppositional notions, Batchen suggests that theoreticians “need to acknowledge and embrace photography’s abstractions and contradictions”. Different contradictions within photography’s theory and history became pivotal in our conversation. We also discussed the indexicality of digital images. According to Batchen, the negative/positive system of traditional photography can be compared with the binary code of digital images, which “is therefore based on the same oppositional logic, the same interplay of one and its other, that generated the analogue photograph.” Moreover, digitality does not eliminate the magic character of the contemporary photographs; in this context, Batchen mentions the capacity of instant transmission of snapshots from one place of Earth to another. In conclusion, Batchen reveals some details of his upcoming book Negative/Positive: A History of Photography. Keywords: magic, indexicality, negative, digital, Barthes
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Dissertations / Theses on the topic "Photography and photographs"

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Oscar, Sara. "Into this wild abyss learning through fabricated photographs /." Connect to full text, 2007. http://hdl.handle.net/2123/3965.

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Thesis (Ph. D.)--University of Sydney, 2007.
"Photomedia"--T.p. Title from title screen (viewed February 18, 2007) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Visual Arts) to the Sydney College of the Arts. Includes bibliography. Also available in print form.
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Jolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.

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Napier, Ellen Bethany. "Thomas Struth's Museum Photographs and the Textual Experience of Photography." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364223682.

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Gmuender, Christopher. "On black-and-white paper image-stability enhancement effectiveness of toning treatments on silver gelatin prints determined by the hydrogen peroxide fuming test /." Online version of thesis, 1992. http://hdl.handle.net/1850/10950.

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Cooper, Elena Sophia Christina. "Art, photography, copyright : a history of photographic copyright, 1850-1911." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283882.

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Abdullah, Ismail Bin. "Documentary photography : a study of nineteenth century documentary photography with special reference to West Malaysian historical photographs 1874-1910." Thesis, Goldsmiths College (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.344016.

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

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The "linguistic turn" in early twentieth-century philosophy established that through language we not only live in a world but create it as well. Language, in this sense, incorporates the entire range of media and cultural artifacts through which we create and share meaning. In contemporary post-industrial societies, photographic images play a central role in communicating and creating the world in which we live. In part, this increasingly visually oriented culture is possible because we tend to equate what we see in photographs with what is real. Photographs, however, bring to light a vision of the world, not the world itself. From the inception of photography, traditions of aesthetic interpretation have challenged this dominant view. Here, the created image becomes a vehicle for the artist's unique expression. Proponents of social scientific and critique of ideology perspectives, however, reject the aesthetic view and typically see art objects as social constructs, instruments which enhance and maintain a certain social order. Each of these perspectives ultimately holds that the meaning of photographs can be determined objectively. At the same time, each presents a world view which tends to exclude the insights of the others. Any attempt to preserve the apparent insights of these views must, then, transcend the basic contradictions and incompatibilities between them. Philosophical hermeneutics holds that the presumption of an absolute, objective grounding represents a failure to grasp the nature of the path toward understanding, a path which can never arrive at its destination because it always exists in history. It argues that (1) the photograph cannot be transparent to the world for the world is constituted in our representations of it; (2) art is a creation whose origin and meaning always exceeds the artist's own understanding of it; (3) critique is not the application of universal reason but a reading from a particular vantage point and is always grounded in a tradition of its own. Most importantly, however, it calls us to recognize the participatory nature of all understanding, the universality of language and provides a criterion for assessing the relative value of our interpretations across the entire language world.
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Mthethwa, Zwelethu. ""Personal" constructs /." Online version of thesis, 1988. http://hdl.handle.net/1850/11638.

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Kozlowska, Agnieszka. "Taking photographs beyond the visual : paper as a material signifier in photographic indexicality." Thesis, Northumbria University, 2014. http://nrl.northumbria.ac.uk/16882/.

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Despite the fact that photographs come into being as material objects imprinted with light reflected off the subject in front of the camera, and therefore possess a decidedly physical connection to their referent, the materiality of photographs tends to be overlooked in favour of apprehending them as primarily visual signs independent of their physical support. This practice-led research project under the title Taking Photographs Beyond the Visual: Paper as a Material Signifier in Photographic Indexicality explores the status of photographs as physical traces. In an attempt to find ways in which remote natural locations could be expressed more fully than it is possible by means of purely visual representation, papermaking and image-formation are combined in a single process executed entirely on-site. This working method was developed during the course of the project through artist residencies in Switzerland and a thorough research of traditional papermaking that included visits to numerous European paper mills. The making of each work involves an absurdly laborious and time-consuming process of hiking to an alpine location, making paper on-site from local plants and - using only the inherent light-sensitivity of plant substances - exposing it for many days in a camera built there partly from found natural materials. The resulting photographic objects function as pure indices in the semiotician Charles Sanders Peirce’s understanding of the term – as traces that point to their causes without necessarily revealing anything about the nature of the latter. They are artefacts testifying primarily through their presence, rather than through pictorial representation, to the exposure having taken place. Such process of signification requires the viewer’s active, haptic and imaginative response. The work proposes a way of photographically representing place as elemental - that is, existing outside the human schema of production, consumption and meaning – instead of through such cultural constructs as ‘landscape’ or ‘the scenic’.
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Sanders, Jennifer A. "An evaluation of photo CD's resolving power in scanning various-speed films for archival purposes /." Online version of thesis, 1996. http://hdl.handle.net/1850/11988.

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Books on the topic "Photography and photographs"

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Bennett, Terry. Early Photography in Vietnam. GB Folkestone: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9781912961047.

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Early Photography in Vietnam is a fascinating and outstanding pictorial record of photography in Vietnam during the century of French rule. In more than 500 photographs, many published here for the first time, the volume records Vietnam’s capture and occupation by the French, the wide-ranging ethnicities and cultures of Vietnam, the country’s fierce resistance to foreign rule, leading to the reassertion of its own identity and subsequent independence. This benchmark volume also includes a chronology of photography (1845–1954), an index of more than 240 photographers and studios in the same period, appendixes focusing on postcards, royal photographic portraits, Cartes de Visite and Cabinet Cards, as well as a select bibliography and list of illustrations.
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Creating world-class photography: How any photographer can create technically flawless photographs. Buffalo, NY: Amherst Media, 2001.

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Shaw, Bernard. Bernard Shaw on photography: Essays and photographs. Wellingborough: Equation, 1989.

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Inka, Schube, Brade Helmut 1937-, Sprengel Museum Hannover, and Brandenburgische Kunstsammlungen Cottbus, eds. Fotografien =: Photographs. Hannover: Sprengel Museum, 2004.

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Liam, Kelly. Photographs and photography in Irish local history. Dublin: Four Courts Press, 2008.

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Moreau, Jeffrey. Muni photographs: The photography of Jeffrey Moreau. Orangevale, CA: Carbarn Press, 1991.

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Photographs and photography in Irish local history. Dublin: Four Courts Press, 2008.

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Photography: The new complete guide to taking photographs. London: Collins & Brown, 2003.

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Wim, Melis, Fries Museum (Leeuwarden Netherlands), and Noorderlicht (Foundation), eds. Nazar: Photographs from the Arab world. New York: Aperture, 2005.

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Felix, Thürlemann, ed. Meisterwerke der Fotografie. Stuttgart: Reclam, 2011.

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Book chapters on the topic "Photography and photographs"

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Godfrey, Anne C. "Combining photographs." In Active Landscape Photography, 150–59. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351066662-13.

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Godfrey, Anne C. "Always photographs." In Active Landscape Photography, 3–6. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351066662-2.

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Godfrey, Anne C. "Making photographs." In Active Landscape Photography, 33–47. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351066662-5.

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Smith, Shawn Michelle. "Anticipatory Photographs." In Photography and Ontology, 72–86. New York, NY: Routledge, 2018. | Series: Routledge history of photography; 4: Routledge, 2018. http://dx.doi.org/10.4324/9781351187756-6.

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Williams, Carol. "Residential School Photographs." In Photography and Migration, 45–62. London ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315276953-4.

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Wyma, Kathleen L. "Photography at the Edge of Representation: Rethinking Photographs of Rural India." In Photography in India, 121–34. London, UK; New York, NY, USA: Bloomsbury Visual Arts, 2018. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003103790-11.

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Marles, Jonet Elizabeth. "Photographs from The Shoebox." In Oral History and Photography, 203–22. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230120099_12.

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Cottenceau, Geoffrey, and Romain Rousset. "Photographie Fotografie Photography." In Bourses fédérales de design Eidgenössische Förderpreise für Design Swiss Federal Design Grants 2007, 63–80. Basel: Birkhäuser Basel, 2008. http://dx.doi.org/10.1007/978-3-7643-8450-0_5.

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Smith, Tina, and Jenny Marsden. "Photographs and Memory Making." In Women and Photography in Africa, 163–89. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-12.

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Baird, J. A. "Exposing Archaeology: Time in Archaeological Photographs." In Archaeology and Photography, 73–95. London; New York: Bloomsbury Visual Arts, 2019. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003103325-4.

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Conference papers on the topic "Photography and photographs"

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Yavuz, Ozan. "Novel Paradigm of Cameraless Photography: Methodology of AI-generated photographs." In Proceedings of EVA London 2021. BCS Learning & Development, 2021. http://dx.doi.org/10.14236/ewic/eva2021.35.

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Vernon, Kris, David Hann, and Tim Rice. "Pulsed LED Photography for Coarse Water Characterisation." In ASME Turbo Expo 2014: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/gt2014-25401.

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An optical photography probe employing pulsed LED illumination has been developed for application to coarse water measurement in wet steam. High image resolution (1.38μm/px) and low exposure time (100ns) photographs capture details of micro-dynamic flow features with reduced motion blur. Camera and lens are held inside a 50mm O.D. cylindrical tube, with a custom designed titanium probe head allowing purging air to clear the front optical surface of stagnant liquid. Double exposure images are analyzed using standard image processing techniques to extract the size and velocity of liquid droplets. The accuracy and repeatability of the measurement probe has been verified on air-water sprays with direct comparison to Phase-Doppler Anemometry measurements, which show good agreement.
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Fuster pérez, Jaime. "La edición fotográfica en Ramón Masats." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.7055.

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Resumen-Abstract El Premio Nacional de fotografía 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), ha sido considerado como un fotógrafo intuitivo. Sin embargo, un detenido estudio de sus fotolibros y ensayos fotográficos publicados en las revistas ilustradas, permiten revindicar otra faceta completamente desconocida: su labor como maquetador. A lo largo de su carrera Masats toma conciencia de la edición fotográfica. Desde la solitaria imagen de la noticia de un periódico, al ensayo fotográfico, entendido desde el punto de vista de E. Smith como un conjunto mayor de imágenes que profundizan y trascienden, permitiendo un reflexión más detenida de la historia que se cuenta; hasta llegar al foto libro, considerado como una unidad expresiva, un todo con significación completa: el formato más complejo de todos... Un Masats sofisticado y erudito se nos muestra consciente del montaje, del ritmo, del diálogo entre imágenes, de modo que la suma altera la percepción del conjunto. Un lenguaje que le llevará finalmente a explorar en el mundo del montaje cinematográfico y la dirección de documentales audiovisuales. En una época de auténtica explosión del fotolibro español como la que vivimos, conviene reconocer, recordar y aprender de nuestros antecedentes, de aquellos maestros en el arte de contar historias. The National Photography Prize 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), has traditionally been considered an intuitive photographer. However, a careful study of his photographs and photographic essays published in illustrated magazines unveils another aspect of his craft completely unknown until now: his work as a layout artist. Throughout his career Masats pays great attention to photographic edition: from the lonely image published besides the news in a newspaper, to the photographic essay, understood from E. Smith’s point of view as “a greater set of images that deepen and transcend leading the viewers to a more detailed reflection of the story that is being told; until reaching the photo book, which is considered an expressive unit, a whole with a complete meaning: definitely the most complex format of all. A sophisticated and academic Masats reveals a whole new aspect of his personality, showing his awareness of the layout, the rhythm and the dialogue between images, so that the sum and disposition of the images alter the perception of the whole. A language that will finally lead him to explore the world of filmmaking and the direction of audiovisual documentaries. In an age in which the Spanish photobook is at its peak, it is good to look back and give credit, remember and learn from our background, from those teachers in the art of storytelling. Palabras clave: Fotolibro, narración, edición, diseño, coherencia, autoría, comunicación, ritmo, análisis. Keywords: Photobook, narration, edition, design, coherence, authorship, communication, rhythm, analysis
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Molki, Majid, and Bahman Abbasi. "Experimental and Computational Study of Droplet Growth and Detachment Near the Inception Point." In ASME 2007 International Mechanical Engineering Congress and Exposition. ASMEDC, 2007. http://dx.doi.org/10.1115/imece2007-41433.

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An experimental and computational investigation was conducted to study the growth and detachment of a single liquid droplet. High-speed photography was employed to capture the droplet evolution from the onset to the breakup time. Three-dimensional computations were carried out to predict the droplet behavior and flow dynamics inside the droplet. The droplet fluid was water immersed in the surrounding atmospheric air. The computations were performed using the finite volume and Volume of Fluid (VOF) techniques. The computations and high-speed photography of the droplet formation were carried out at 20°C. Diameter of the injection port was 2.4 mm and the flow rate for generation of droplets was 1.1 × 10−4 kg/s. These values together with the choice of liquid resulted in a Bond number of 0.19, Capillary number of 3.4 × 10−4, and liquid-to-gas viscosity ratio of 56.05. The results indicated that the shape and evolution of the droplet as predicted by the computations were in good agreement with those captured on the high-speed photographs. The computations revealed details of the flow inside the droplet such as pressure and velocity.
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Lamberson, Leslie E., and Ares J. Rosakis. "Dynamic Optical Investigations of Hypervelocity Impact Damage." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-11740.

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Hypervelocity impact is a rising concern in spacecraft missions where man-made debris in low-earth orbit as well as micrometeroids have the potential to damage not only the structural components, but also the optical, electrical, and thermal components of a space asset. Little has been investigated regarding damage mechanisms and dynamic fracture mechanics resulting from a hypervelocity impact in-situ. Two optical techniques, the methods of photoelasticity and caustics, in conjunction with high-speed photography are used to examine stress waves from impact of unloaded plates, as well as pre-cracked and pre-loaded plates in tension. The resulting photographs are analyzed to extract information regarding stress wave interactions, crack speeds and the dynamic stress field ahead of the moving cracks.
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Lamberson, Leslie E., and Ares J. Rosakis. "Dynamic Optical Investigations of Hypervelocity Impact Damage." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-12078.

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Hypervelocity impact is a rising concern in spacecraft missions where man-made debris in low-earth orbit as well as micrometeroids have the potential to damage not only the structural components, but also the optical, electrical, and thermal components of a space asset. Little has been investigated regarding damage mechanisms and dynamic fracture mechanics resulting from a hypervelocity impact in-situ. Two optical techniques, the methods of photoelasticity and caustics, in conjunction with high-speed photography are used to examine stress waves from impact of unloaded plates, as well as pre-cracked and pre-loaded plates in tension. The resulting photographs are analyzed to extract information regarding stress wave interactions, crack speeds and the dynamic stress field ahead of the moving cracks.
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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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Olsen, Sven, Rachel Gold, Amy Gooch, and Bruce Gooch. "Recovering color from black and white photographs." In 2010 IEEE International Conference on Computational Photography (ICCP). IEEE, 2010. http://dx.doi.org/10.1109/iccphot.2010.5585088.

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Karpilo, Ronald D., Chris Allan, Jeffrey T. Rasic, and Bruce A. Heise. "REPEAT PHOTOGRAPHY OF HISTORICAL U.S. GEOLOGICAL SURVEY EXPEDITION PHOTOGRAPHS IN GATES OF THE ARCTIC NATIONAL PARK AND PRESERVE, ALASKA." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-323946.

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Beckstead, Gary R. E., and Drum S. Cavers. "Stream Dynamics at Pipeline River Crossings." In 1996 1st International Pipeline Conference. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/ipc1996-1943.

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Pipeline crossings of streams, whether large or small, must consider the ability of the stream channel to scour its bed and erode its banks. Case studies are presented to illustrate the kinds of dynamic environments which must be considered in designing pipeline stream crossings. These characteristics may be determined through the use of comparative historical aerial photography and site photographs and surveys. The case studies presented as examples in this paper include gullies, bedrock-lined channels, entrenched meandering streams, multi-channel wandering streams, degrading channels, alluvial fans, and major channels affected by regulation and man-made structures. Natural hazards such as debris jams and beaver dams are also discussed. For each case study, the characteristics of the channels are described, the design approach discussed and site-specific constraints presented which affected the final design.
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Reports on the topic "Photography and photographs"

1

Greene, G. J., G. Cutsogeorge, and M. Ono. Boxcar photography. Office of Scientific and Technical Information (OSTI), July 1987. http://dx.doi.org/10.2172/6169434.

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Mende, Stephen B. Auroral Photography Experiment. Fort Belvoir, VA: Defense Technical Information Center, February 1988. http://dx.doi.org/10.21236/ada203623.

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Rampton, V. N., and J. S. Vincent. Photographs of Coastland Terrains. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1987. http://dx.doi.org/10.4095/126958.

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Rampton, V. N. Photographs of Coastland Terrains. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1987. http://dx.doi.org/10.4095/126959.

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PARSONS ENGINEERING SCIENCE INC DENVER CO. Photographs of Extended Bioventing Activities. Fort Belvoir, VA: Defense Technical Information Center, May 1996. http://dx.doi.org/10.21236/ada384503.

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Van Vlack, Hannah, and Cyler Norman Conrad. Steen's photographs of Bandelier NM. Office of Scientific and Technical Information (OSTI), February 2020. http://dx.doi.org/10.2172/1601597.

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Ardévol Abreu, Alberto. Immigration in Canarian Press Photography. Revista Latina de Comunicación Social, 2008. http://dx.doi.org/10.4185/rlcs-63-2008-791-409-417-en.

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Mallik, Vishnuu, Mark Flage, and Connor Chapman. Infrared Photography, Atmospheric Spectroscopy, and Solar Corona Photography using a High-Altitude Ballooning Platform. Ames (Iowa): Iowa State University. Library. Digital Press, January 2011. http://dx.doi.org/10.31274/ahac.8140.

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Amos, C. L. Bottom photography and sediment analyses on CESAR. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1985. http://dx.doi.org/10.4095/120323.

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Robertson, C. Oscilloscope photography at NTS (Nevada Test Site). Office of Scientific and Technical Information (OSTI), June 1990. http://dx.doi.org/10.2172/6731423.

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