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Relevant bibliographies by topics / Photography Art and photography

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Academic literature on the topic 'Photography Art and photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Photography Art and photography"

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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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Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.

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Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photography as a museum department or academic field of study offers the promise to counter far larger impulses toward totalization, above all in a marketplace beset by an obsession with global contemporary art. What the study of photographs can model is a field of creation that moves in, under, and against “art in general.”

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Hillman, John. "How Does Photography Appear to Appear?" Magic, Vol. 5, no. 1 (2020): 72–79. http://dx.doi.org/10.47659/m8.072.art.

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Photography shares little with the logic of simulation and simulacrum, instead it facilitates a dimension within which people and objects we photograph emerge from an impossible frame. Its intrigue resides in the palpable sense of impossibility that photographs render visible to us. This sleight of hand obfuscates the question of how appearance appears. In Finders Keepers, Dutch photographer Laura Chen works with imagery sourced from undeveloped films purchased from eBay and car-boot sales. When Chen develops the films, the real of someone else’s reality is transformed into art. Left undeveloped, these images occupy nowhere in particular, but Chen makes appearances fill in a void and poses a question which is not one of “why” but of “where” are images? Furthermore, in seeking out meanings, the magic of photography is understood through the misdirection of illusion and appearance. What is more useful is to ask how photography appears to appear? Keywords: photography and illusion, magic of photography, reality and simulation, appearance of photography, Laura Chen

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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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Molloy, Caroline. "The Studio Photograph as a Conceptual Framework." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 38–47. http://dx.doi.org/10.47659/m5.038.art.

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In her essay, Caroline’s draws from her PhD thesis that looks the visual habitus of transcultural photography. She concentrates her writing on the genre of studio photography, specifically early English studio photography and argues that the conceptual framework established in early photographic studio practices still has its legacy in contemporary digital photographic studio practices. To illustrate this argument, she draws from a contemporary case-study in her local, digital photographic studio in North London and discusses a selection of photographs in relation to early photographic studio practices. She suggests that rather than a radical break caused by digital technologies, digital photography has opened up imaginative ways in which to make studio portraits that blur boundaries between the real and symbolic. Keywords: anthropology, digital form of photography, photography, studio photography

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Vogelsang, Helena. "A Nostalgic Longing for the 20th Century: Past and Present Backdrops and Scenes in the Skylight Studio of Josip Pelikan." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 56–61. http://dx.doi.org/10.47659/m5.056.art.

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Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabled the portrayed person to be presented in a way that suited him or her best; e.g. raising their social status, being placed in a specific environment or in a different position than the person occupied in real life. This surely influenced the popularity of portraits made in the wet collodion technique by contemporary photographer Borut Peterlin. In this way, the photographer revitalised the importance of Pelikan’s backgrounds and renewed the interest in old analogue photography techniques as well as a comprehensive studio portrait experience, which today no longer holds a prominent place among photographic practices. Keywords: 20th century photograhy, background, Josip Pelikan, photographic backdrop, portraiture, skylight studio, Slovenian photography, studio photography

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Susanto, Andreas Arie. "Fotografi adalah Seni: Sanggahan terhadap Analisis Roger Scruton mengenai Keabsahan Nilai Seni dari Sebuah Foto." Journal of Urban Society's Arts 4, no. 1 (April 30, 2017): 49–60. http://dx.doi.org/10.24821/jousa.v4i1.1484.

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Tulisan ini bertujuan untuk menyanggah argumentasi Roger Scruton mengenai keabsahan nilai seni dari sebuah foto. Scruton berpendapat bahwa fotografi bukanlah karya seni. Fotografi hanyalah sebuah tindakan mekanis dalam menghasilkan suatu gambar, bukan representasi melainkan hanyalah peristiwa kausal, bukan gambaran imajinasi, tetapi hanya kopian. Fotografi mengandaikan adanya kemudahan dalam penciptaan seni. Pernyataan Scruton semakin dikuatkan dengan fenomena perkembangan teknologi yang sudah melupakan sisi estetis dan hanya berpasrah sepenuhnya pada tindakan mesin. Penekanan berlebihan terhadap keunggulan reduplikasi, proses instan, dan otomatisasi fotografi membuat fotografi kehilangan tempatnya di dunia seni. Akan tetapi, persoalan seni adalah persoalan rasa. Fotografi tetaplah sebuah seni dengan melihat adanya relasi intensional yang tercipta antara objek dan seorang fotografer dalam sebuah foto. Relasi intensional ini tercermin dalam proses, imajinasi, dan kreativitas fotografer di dalam menghasilkan sebuah foto. Lukisan dan fotografi adalah seni menurut rasanya masing-masing. Photography is an Art: A Disaproval towards Roger Scruton's Analysis on the Legitimacy of Art Value of a Photograph. This paper aims to disprove Roger Scruton's argument about the validity of the artistic value of a photograph. Scruton argues that photography is not a work of art. Photography is simply a mechanical action in producing a picture, not a representation but merely a causal event, not an imaginary image, but only a copy. Photography presupposes the ease of art creation. Scruton's statement is further reinforced by the phenomenon of technological development that has forgotten the aesthetic side and only entirely devoted to the action of the machine. The excessive emphasis on the benefits of reduplication, instant processing, and photographic automation makes photography lose its place in the art world. However, the issue of art is a matter of taste. Photography remains an art by seeing the intense relationships created between an object and a photographer in a photograph. This intense relationship is reflected in the process, imagination, and creativity of the photographer in producing a photograph. Painting and photography are arts according to their own taste.

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Čeferin, Hana. "Who’s Afraid of Photography?" Magic, Vol. 5, no. 1 (2020): 94–98. http://dx.doi.org/10.47659/m8.094.art.

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In contemporary horror, the photographic image is often used as the object of horror or even represents the main antagonist of the story. We can trace the origin of such depictions to the very invention of the technique of photography in the 19th century, which was also the heyday of spiritualist theories about photography making the soul of the deceased visible to the human eye using chemical compounds. A notorious example is the case of photographer William Mumler who offered well-off relatives of recently deceased people in the States to make portraits with the ghosts of their loved ones. There are also reports of some peoples that allegedly also consider the soul to be closely bound to photography and in consequence abhor photography, as the film is supposedly capable of capturing and depriving the photographed person of their soul. Films like The Ring, The Others, Peeping Tom, and The Invisible Man demonstrate how frequently uncanny photography appears in the horror film genre and open questions about the reasons of such depictions. While the theory of horror claims that horror uses specific iconography of fear to reflect the common fears of the time (e.g. an invasion of giant insects and carnivorous plants in the 50s as a consequence of American fear of a communist invasion), the article explores the issue of photography as the main antagonist in the horror genre of the 21st century and whether this means that it appears as the universal fear of digital identity, surveillance, and identity theft.

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Ogden, Kate Nearpass. "Musing on Medium: Photography, Painting, and the Plein Air Sketch." Prospects 18 (October 1993): 237–81. http://dx.doi.org/10.1017/s0361233300004920.

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The relationship of photography and painting has greatly intrigued art historians in recent years, as has the uneasy status of photography as “art” and/or “documentation.” An in-depth study of 19th-century landscape images suggests two new premises on the subject: first, that opinions differed on photography's status as an art in the 19th Century, just as they differ today; and, second, that the landscape photograph is more closely related to the plein air oil sketch than to the finished studio easel painting. For ease of comparison, the visual material used here will consist primarily of landscapes made in and around Yosemite Valley, California, in the 1860s and 1870s; comparisons will be made among paintings by Albert Bierstadt, photographs by Carleton Watkins and Eadweard Muybridge, and works in both media by less famous artists.

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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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Dissertations / Theses on the topic "Photography Art and photography"

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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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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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Hacking, Juliet Louise. "Photography personified : art and identity in British photography 1857-1869." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266787.

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Shirley, Anne. "What a photograph and cannot do exegesis submitted in partial fulfilment of requirements for the degree Master of Art and Design, to Auckland University of Technology, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/455.

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Yu, Kit-yee Flora, and 余潔儀. "Postmodernism and photography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31950152.

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Gigler, Elisabeth. "Indigenous Australian art photography an intercultural perspective." Aachen Shaker, 2007. http://d-nb.info/990542270/04.

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Statzer, Mary Kathryn. ""Photography into Sculpture": Peter Bunnell, Robert Heinecken and Experimental Forms of Photography Circa 1970." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556851.

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Despite present day attitudes and practices in which combinations of photography and other mediums of art are readily accepted, this was rarely the case during the 1960s and 1970s. The pioneering 1970 Museum of Modern Art exhibition Photography into Sculpture, which is the focus of this dissertation, is a compelling exception. Organized by Peter Bunnell, the exhibition highlighted work by twenty-three artists that mixed photographic imagery with three-dimensional forms. The resulting objects often dislocated "straight" photography’s reliance on the image and optical description as its primary source of meaning, characteristics presumed to be fundamental and fixed by many at the time. Bunnell argued that the physicality of the works in Photography into Sculpture made the medium visible and available for critique. This dissertation establishes the archival record and an oral history for the exhibition. It also finds that Bunnell prepared this unorthodox exhibition with John Szarkowski’s endorsement, therefore contradicting enduring views that Szarkowski’s photography program at the Modern promoted a monolithic ideology that did not include experimental modes. Peter Bunnell and Robert Heinecken are the principal figures in Photography into Sculpture. Bunnell, as curator and historian, and Heinecken, as artist and professor of photography at University of California, Los Angeles, were both committed to the idea that the photograph was not only an image but also an object. In public statements they argued that the attention placed on straight photography by many critics and educators discouraged experimentation and excluded an emerging generation of photographers eager to challenge lingering modernist traditions that emphasized the integrity of the image and conventions of display. Both men and their contemporary Nathan Lyons worked from within photography’s established institutions and organizations–including the Museum of Modern Art, George Eastman House, and The Society for Photographic Education–to advocate for alternatives. This dissertation demonstrates that the revolutionary ideas of Bunnell and Heinecken were part of a long rebellion against photographic modernism.

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Bauman, Emily. "Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438626.

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Lai, Kin-keung Edwin. "Hong Kong art photography : from its beginnings to the Japanese invasion of December 1941 /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17593864.

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Books on the topic "Photography Art and photography"

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Successful fine art photography: How to market your art photography. New York: Images Press, 1992.

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Art and photography. New York: Penguin Books, 1986.

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Art and photography. New York, N.Y., U.S.A: Penguin Books, 1986.

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Art photography now. New York: Aperture, 2005.

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Charlo, B. Fine art photography. [Browning, Mont: U.S. Dept. of the Interior, Indian Arts and Crafts Board, Museum of the Plains Indian and Crafts Center, 1991.

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Art-directing photography. Cincinnati, Ohio: North Light Books, 1989.

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Charlo, B. Fine art photography. [Browning, Mont: U.S. Dept. of the Interior, Indian Arts and Crafts Board, Museum of the Plains Indian and Crafts Center, 1991.

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Art photography now. 2nd ed. London: Thames & Hudson, 2011.

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Soutter, Lucy. Why Art Photography? Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630.

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Marketing fine art photography. Santa Barbara, CA: Rocky Nook, 2011.

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Book chapters on the topic "Photography Art and photography"

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Łaba, Izabella. "Photography." In Art in the Life of Mathematicians, 138–63. Providence, Rhode Island: American Mathematical Society, 2015. http://dx.doi.org/10.1090/mbk/091/08.

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Soutter, Lucy. "Beyond photography." In Why Art Photography?, 135–58. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-7.

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Lenette, Caroline. "Photography." In Arts-Based Methods in Refugee Research, 143–69. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-8008-2_6.

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Halden, Grace. "Photography and Digital Art." In The Routledge Companion to Cyberpunk Culture, 216–27. London; New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351139885-27.

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Horovitz, Ellen G. "Photography as Therapy." In The Wiley Handbook of Art Therapy, 180–87. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118306543.ch18.

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Soutter, Lucy. "Introduction." In Why Art Photography?, 1–16. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-1.

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Soutter, Lucy. "Hybrid genres." In Why Art Photography?, 17–36. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-2.

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Soutter, Lucy. "Objectivity and seriousness." In Why Art Photography?, 37–61. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-3.

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Soutter, Lucy. "Fictive documents." In Why Art Photography?, 62–82. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-4.

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Soutter, Lucy. "Authenticity." In Why Art Photography?, 83–107. Title: Why art photography / Lucy Soutter.Description: Second edition. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-5.

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Conference papers on the topic "Photography Art and photography"

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Niu, Xue. "Discussion on Pictorial Photography and Pure Photography in the Development of Photographic Art." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.131.

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kim, Daewoo, and Joungwoo Joo. "Study on the changes of photography through the post photography era." In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.101.01.

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Toister, Yanai. "Photography: Artist Penny and Machine." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.7.

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Yang, He. "Illusion of Portrait Photography." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.113.

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Zhou, Shu, and Jie’en Guo. "Exploration on the Teaching of Public Art Photography Course in Digital Photography Age." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.173.

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Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to other art forms, particularly by: 1) emphasizing Hervé’s artistic, partly non-representational, approach to architectural photography; 2) employing principles of musical composition; and 3) approximating photographic practise of documenting sculpture. Keywords: architectural photography, photo book,Lucien Hervé,LeCorbusier, Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.935

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Liu, Yongxiao. "Research on the Cultural Characteristics of Photography Art." In Proceedings of the 2018 2nd International Conference on Economic Development and Education Management (ICEDEM 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icedem-18.2018.12.

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Meado, Andrea L., William L. Stefanov, Melissa D. Higgins, and Lisa A. Vanderbloemen. "EARTH SCIENCE ENGAGEMENT THROUGH ART AND ASTRONAUT PHOTOGRAPHY." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-318633.

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Lauzzana, Raymond. "An Art History Installation Of Electronic Still Photography." In 1988 Los Angeles Symposium--O-E/LASE '88, edited by Ronald J. Clouthier, Gary K. Starkweather, Andrew G. Tescher, and Thomas L. Vogelsong. SPIE, 1988. http://dx.doi.org/10.1117/12.944694.

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Al-thani, Noora, Nitha Siby, Fatma Nabhan, and Ruba Ali. "Cultivating Curiosity by Integrating Art in Science through Photography." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0259.

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Arts-integrated science is a tantalizing educational approach that captures the attention of scientific learners through the lighter side of science. This study highlights the findings of a schoolbased applied research study conducted to develop public school students’ curiosity and their aesthetic qualities by exploring scientific knowledge by using photography. This study incorporated photography as a learning aid in STEAM workshops for 386 high school students, including 220 males and 166 females from 19 schools, and tested methods for enhancing the curiosity or interest of students to explore the workshop context more deeply. The analysis of our methods discusses the results using pre- and post-method questionnaires and the evaluations of 816 scientific images captured by the students. The key aim of this research involves cultivating curiosity in students as they analyse captured images, which results in positive outcomes, such as increased engagement in scientific workshops, thereby inspiring them to more thoroughly explore the science behind each image.

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Reports on the topic "Photography Art and photography"

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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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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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Kinney, John W., and Warren P. Clary. Time-lapse photography to monitor riparian meadow use. Ft. Collins, CO: U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station, 1998. http://dx.doi.org/10.2737/rmrs-rn-5.

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LEBARON, G. J. Using 360 degree photography as a decommissioning tool. Office of Scientific and Technical Information (OSTI), May 2003. http://dx.doi.org/10.2172/815069.

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Rich, P. A manual for analysis of hemispherical canopy photography. Office of Scientific and Technical Information (OSTI), December 1989. http://dx.doi.org/10.2172/7064866.

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Fernandes, R. A., T. Bariciak, C. Prévost, H. Yao, T. Field, C. McConnell, J. Luce, and R. Metcalfe. Method for measurement of snow depth using time-lapse photography. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2019. http://dx.doi.org/10.4095/314726.

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