Academic literature on the topic 'Photography collections'
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Journal articles on the topic "Photography collections"
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Hatano, Hiroyuki. "Photographic collections in Japan: accessibility and new technology." Art Libraries Journal 14, no. 4 (1989): 7–10. http://dx.doi.org/10.1017/s0307472200006453.
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Photographic collections are relatively undeveloped in Japan, although in the last decade a national photographic museum has been established, and other museums have opened departments of photography. Problems of access to collections of photographs of works of art have impeded the study of art history, but the capacity of new technologies to store, and to facilitate the retrieval of, visual images, is beginning to transform the situation.
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Salu, Luc. "A library and a bibliography to cope with the torrent of pictures? A glimpse into the Antwerp FotoMuseum." Art Libraries Journal 33, no. 3 (2008): 25–29. http://dx.doi.org/10.1017/s0307472200015443.
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Between 1965 and 1985, the library of the FotoMuseum Provincie Antwerpen acquired three large collections: that of the library of the Association Belge de Photographie, the collection of magazines from Fritz L. Gruber and the company library of the photographic firm Agfa-Gevaert. The bibliographic activities associated with the history of photography were started in 1978 at the European Society for the History of Photography and resulted in a four-part History of photography: a bibliography of books, published 1989 to 1999. The FotoMuseum Provincie Antwerpen produced an augmented version of this bibliography on CD-ROM in 2003.
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Šejbl, Jan. "Čína ve třech rozměrech. Nejstarší fotografie z Číny ve sbírce stereoskopů Náprstkova muzea v Praze." Muzeum Muzejní a vlastivedná práce 60, no. 1 (2022): 14–27. http://dx.doi.org/10.37520/mmvp.2022.003.
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The study deals with the representation of photographs from China in the Náprstek Museum’s stereoscope collection. A brief summary of the historical development of the Náprstek Museum’s photographic collections and the phenomenon of stereoscopic photography in the 19th century is followed by the results of a survey itself. The images were categorised by an authorship and analysed both technically and thematically. It turned out that the stereoscope collection contains the oldest photographs of China, which can be dated to the turn of the 1850’s and 1860’s.
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Paradis, James G. "PHOTOGRAPHY AND IRONY: THE SAMUEL BUTLER PHOTOGRAPHY EXHIBITION AT THE TATE BRITAIN." Victorian Literature and Culture 33, no. 1 (March 2005): 318–22. http://dx.doi.org/10.1017/s1060150305230863.
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AN EXHIBITION of Samuel Butler's photography in Gallery Sixteen, an elegant rotunda room just off the entrance to the Tate Britain, offered a rare opportunity to see some of the photography of the author of Erewhon and to contemplate how Victorian photographic realism fares in the setting of a modern museum. The exhibition, celebrating the centenary of Butler's death, ran from November 2002 to May 2003 and was made up of thirty-five framed photographs, some of them digitally touched up by Dudley Simons, and an assortment of photobooks and editions of Butler's self-illustrated volumes. It was developed by Tate curator Richard Humphreys and Butler scholar Elinor Shaffer, with the support of librarian Mark Nicholls from St. John's College at Cambridge, which houses most of Butler's extensive photographic work in its special collections. Titled “Samuel Butler and the Ignorant Eye,” after Shaffer's notion in her Erewhons of the Eye: Samuel Butler as Painter, Photographer, and Art Critic (1988) that Butler's photography renders “the eye of the viewer … ignorant and open” (229), the black-and-white secularism of Butler's work offered a startling change in imagery from the intense colorism of “Rossetti and Medievalism,” the exhibit that preceded it in Gallery sixteen.
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Rubinina, Z. M. "Photography in the Museum: Problems of Research." Heritage and Modern Times 5, no. 2 (January 27, 2023): 185–202. http://dx.doi.org/10.52883/2619-0214-2022-5-2-185-202.
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The article is devoted to problems during research work with photographs belonging to the Russian Federation Museum Fund within the framework of historical science, from heuristics to information value of photographic documents. Within the context of the problems of identifying and selecting photographs from museum collections, possibilities and disadvantages of electronic catalogs are considered on the example of the State Catalog of the Russian Federation Museum Fund. The problem of insufficient and incorrect attribution of the national photographic heritage is considered. The reasons for the rare appeal of historians to photography as a full-fledged historical source are analyzed. In this regard, a number of source problems have been identified, without solving which, the formation of photography as a historical source seems difficult. Attention is also paid to the problem of archeography of photographic documents in publications of both typographic and non-typographic forms. Possibilities of photography as an informational source and prospects of its use in historical research are analyzed.
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Gold, Jens. "Color Plates, Material, and Condition: Hermann Krone’s Contributions to Lippmann Interferential Color Photography." Rundbrief Fotografie 31, no. 2 (June 1, 2024): 23–38. http://dx.doi.org/10.1515/rbf-2024-2005.
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Abstract Lippmann color photographs are among the rarest examples of early color photography in public and private collections worldwide. At the time, Hermann Krone was probably one of those who contributed most actively and with remarkable results to the Lippmann process. After general remarks about Krone’s work, this paper will describe more deeply his book about color photography focusing on the direct color process, the technology he practiced himself to accomplish interferential color, and the body of his Lippmann color photographs, which still exists today in major collections, and which has been recently examined by the author. With a focus on the work of Krone, the paper aims to give an overview of the variety of presentation forms of Lippmann color images in existence today and closes with information on the permanence and preservation of these early color photographic materials.
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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.
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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
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Kłudkiewicz, Kamila. "NON-COLLECTIONS? OLD COLLECTIONS OF REPRODUCTIONS AND DOCUMENTING PHOTOGRAPHS IN MUSEUMS: SELECTED EXAMPLES." Muzealnictwo 62 (June 29, 2021): 153–62. http://dx.doi.org/10.5604/01.3001.0015.0032.
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Elizabeth Edwards, a British researcher into the relations among photography, history, and anthropology, used the term of non-collections to define numerous photographs of unidentified status which can be found in contemporary museums. They are not collector’s items, such as e.g., artistic photography or unique specimens of the first photography techniques. What she rather means are various items: prints, slides, photo-mechanic reproductions, postcards, namely objects once produced on a mass scale, with copies present in many institutions worldwide, thus being neither unique nor extraordinary. They present works from a museum collection, historic pieces of local art, or universally known works of world art. They exist in a hierarchical relation with other classes of museum objects, yet they are often pushed to the margin of curator’s practice and kept as ‘archives’, namely outside the system of the museum collection. They can sometimes be found in museum archival sections, in other instances in libraries, yet it is on more rare occasions that we come across them in photo departments. However, owing to the research into archival photographs conducted in the last decade (the studies of afore-mentioned Elizabeth Edwards and also Constanza Caraffa as well as the teams cooperating with the latter), such collections are experiencing a certain revival. Forming part of this research, the paper focuses on the collections of reproductions produced at the turn of the 20th century in museums in Toruń, Poznań, and Szczecin, which were German at the time; the reproductions later found their way to and continue being kept in Polish institutions.
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Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies." Anglia 139, no. 1 (March 4, 2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.
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Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide the selection of what to photograph. The photographic process thereby becomes part of the process of analysis. Photography by the researcher is therefore limited by subjectivity but it also helps to highlight the role of subjective perspectives in scholarship. It can also balance a breadth or depth of perspective in ways different from institutional digitization. It could in theory foster increased textual scholarship but in practice has fostered attention to the materiality of the text.
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Stanulevich, Nadezhda A. "Photography and photographic literature as a part of ideological language in the 20th century." Vestnik of Saint Petersburg State University of Culture, no. 3 (56) (2023): 95–101. http://dx.doi.org/10.30725/2619-0303-2023-3-95-101.
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Soviet photography has been the subject of various disciplines. The role of photographic handbooks and magazines in the creation of iconic images remains uncovered. The following questions remain ambiguous: What is the type of photographic handbook content? How were handbooks designed in different countries? Is there a connection between the handbook’s content and the images they create? The base for the study was manuals for photographers published in the USSR and the USA in 1920–1960s; images from retrospective editions of photographic collections; photographs published in the Soviet Photo; photo collections presented on the website of the State Catalog of the Museum Fund of the Russian Federation. Based on the analysis and comparison of the content of handbooks, research shows the main trends in educational strategies for photographers. Comparison of the representative part of the works of Soviet and American photographers of the 1920s–1960s gives an idea of similar plots and themes with differences in each chronological period. The article contributes to the study of photography as a tool of political ideologies and demonstrates the universality of photographic images in countries with different socio-economic policies. This work provides a basis for future studies of Soviet educational programs in photography.
Dissertations / Theses on the topic "Photography collections"
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Wills, David. "Cultural Mulch : an investigation into collectors who create collections of mass produced objects and of the potential significance of those objects in relation to consumer culture." Phd thesis, Canberra, ACT : The Australian National University, 2009. http://hdl.handle.net/1885/8036.
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Collecting is an activity that stems from humankinds roots as hunters and gathers, when necessity rather than want, was key. This dissertation considers the strategies and motivations behind collecting in the 21st Century and what the significance is of collected objects. It considers the many guises, aims and reasons for collections being made, from the attainment of wealth and status, to the filling of personal voids, or the simple pleasures of belonging to a like-minded group of people. The dissertation charts contemporary influences in collecting behaviour, from an increased interest in celebrity, the push by corporations to market mass-produced collectibles, alternative consumer trends, and what effect the internet has had on the availability of a vast array of objects globally and locally. Back grounded by a diminishing of the earth’s resources and the production of objects at a peak, it considers the notion of futility.
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Minkley, Hannah Smith. "Photographing other selves: collecting, collections and collaborative visual identity." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/12669.
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This study is situated in a social documentary photography context, and is concerned to explore whether the collaborative interaction between photographer, subject (as collector) and material object (as collection) might enable a practice that presents a more mutual and subject-centred visual identity emerge. In particular, photographers Jim Goldberg and Gideon Mendel have focused more on the subject themselves, using collaborative processes such as photo-voice and photo elicitation, as well as the use of peoples’ handwritten captions on photographic prints themselves. Claudia Mitchell’s overview of visual methodologies is drawn on, together with Ken Plummer’s Documents of Life 2 (2001) and Gillian Rose’s Visual Methodologies (2001) to extend on these possibilities of conducting collaborative visual research.The practical component of this study focuses on personal collections and follows a number of theorists, including Susan Pearce, and John Elsner and Roger Cardinal. It follows Pearce’s identification of three major modes of collecting, and suggests that collections are essentially narratives of the self, and reveal experiences and expressions of personal desire. By drawing on these approaches and the various ways the twelve collectors were photographed, as well as implementing collaborative research processes (handwritten text, archival photographs and the re-staging of the collections), the study confirms Pearce’s three primary modes of collecting, and acknowledges that they are often interlinked or overlap one another. The study further found that a more subject voiced visual identity did indeed become apparent through the collaborative methods applied and discussed. The collaborative research equally demonstrated that these narratives of identity are not singular, but rather narratives of multiple, personal identities of the self.
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Halsban, Megan. "Stereographs as Scholarly Resources in American Academic Libraries and Special Collections." Thesis, School of Information and Library Science, 2008. http://hdl.handle.net/1901/543.
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This paper examines stereographic images as scholarly resources, and begins with a brief history of the stereograph. A discussion and review of the literature related to the stereograph as well as the preservation of photographic objects follows the introduction. In addition to the literature review, collections of stereographs at four repositories were evaluated for usability: The Keystone-Mast Archive at the University of California, Riverside; The Eliot Elisofon Archive at the Smithsonian Institution; the George Eastman House; the Library of Congress. The paper ends with suggestions for future work with the stereograph, in order to facilitate access and use by researchers.
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Cobon, Linda Louise. "Problems and issues in the arrangement and description of photographs in libraries and archival repositories." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/27687.
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Until recent years, archivists have been reluctant to consider photographs as being archival in nature. The evidential value possessed by some photographs was ignored and archivists also failed to see where the informational value of a photographic image could be enhanced when viewed within the context in which it was created. Instead, archivists preferred to arrange and describe photographs as discrete items. For assistance in this endeavor, archivists turned to members of the library profession. Librarians, for their part, found that photographs were not amenable to standard bibliographic formats or classification schemes devised for printed monographs. The result was the creation by members of both the library and archival professions of numerous and often idiosyncratic methods for the physical and intellectual control of photographs.
The volume of photographic images acquired by libraries and archival repositories now makes it virtually impossible to continue dealing with photographs as discrete items. The research needs and methodologies of users have also changed; photographs are increasingly being sought as historical documents in their own right and not just as illustrations to accompany the written word. In response to these two factors, librarians began organizing and describing photographs as "lots" and archivists moved slowly toward the arrangement and description of photographs as archival fonds. This evolution, far from complete with regard to photographs, resembles an earlier evolution affecting the arrangement and description of textual archives, particularly manuscripts.
Today archivists in many Western countries are seeking to establish standard formats in the description of archival materials. This goal has become particularly urgent in the face of computer technology and the desire to form automated archival networks. It remains to be seen whether the final standards adopted in Canada, for instance, will encompass photographs or whether photographs will retain a "special" status. Without question, photographs have and will continue to present members of the library and archival professions with problems In arrangement and description. This is demonstrated in the body of this thesis through a survey of the professional literature and through field work undertaken in six libraries and archival repositories in the Vancouver area and in Victoria, British Columbia. However, the existence of problems should not mean that the approach to photographic archives should be any different, in essence, from the approach and principles applied to textual archives.Arts, Faculty of
Library, Archival and Information Studies (SLAIS), School of
Graduate
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Wolfe, Kimberly. "Flat Files: The Absence of Vernacular Photography in Museum Collections." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/163.
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This thesis will explore the causes and consequences of the absence of vernacular photography from museum collections. Through historical analysis of vernacular photography and a close interpretation of a contemporary family snapshot, I will argue that vernacular photographs are important objects of great cultural significance and poignant personal meaning. Photography has always defied categorization. It serves multiple functions and roles, is studied in a vast number of disciplines, and exists in a variety of institutions and collections. Furthermore, it is difficult to classify a single photograph. Vernacular photography thus poses a challenge to museum methods of sorting documents, artifacts, and art. Consequently the photographs that are most significant in everyday life are often missing from the museum setting or are misinterpreted and stripped of their meaning.
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Humayun, Saalem. "Constructing family photograph albums : how the process of archival acquisition writes history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99722.
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This thesis is about photographic archives. Specifically, it concerns the process of acquisition for family photograph albums as archival texts. It argues that the process of acquisition writes history, and not one sole author. Additionally it argues that the institutional policy of an archive governs this process. Further, it argues that there is a homology between a public and private archive. In this light, it pursues an autobiographical approach, and compares the author's family photograph album with a family photograph album in the McCord Museum of Canadian History.
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Bouza, Arnoso Estéfani. "Taming contingency : photography at the crossroads between collections, archives and atlases." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q5y1q/taming-contingency-photography-at-the-crossroads-between-collections-archives-and-atlases.
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My practice-based PhD investigates how the gathering of visual information through the photographic camera, together with the visual strategies involved in the organisation and configuration of specific groups of images are key processes in the constitution of meaning. I use my own practice to ‘de-construct’ these ideas, to help me understand the role of photography in recording information with the purpose of piecing the gathered material together in an atlas, using the montage, and to finally present the result using the grid as a structure that holds all the photographs together. One of the main aspects that underlies this research is the role that photography plays in recording information and the way in which historically, photography and archives are constituted together. In the last three decades, the concept of the archive has been given increasing prominence in the field of art. A review of the literature theorising the articulation between archives and art shows that in fact photographs and visual imagery are at the core of most archives. Therefore, the role of photography is one of the key elements to consider in the discussion between archives and art. My research tries to recover, actualise and visually add to some of the discourses that focus on the singular relationship established between photography and archives. For this I will analyse my own work and artworks that use photography as the first means to gather visual information. However, in the construction of these artworks, artists use a range of organisational strategies borrowed from archives, collections and visual atlases. Therefore, the practices discussed in the thesis including my own neither constitute, nor belong to archives, collections, or visual atlases of images. What they do is to borrow strategies from all these systems, moving between them to create singular artworks that have a hybrid character.
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Riddar, Johnson Matilda. "Kungliga bibliotekets fotografiska förvärv : En undersökning av Kungliga bibliotekets förvärv av fotografier under 1958‒2008." Thesis, Uppsala University, Department of ALM, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-105610.
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My master’s thesis is a study of acquisition of photographies during 1958-2008. The questions I proceed from is what patterns lies behind the Royal library's acquisition of photography and how the process of acquisition looks like. The theoretical base which I lean on consists partly of a problematization of the process of cultural heritage and partly of organizational theory. The problematization of the process of cultural heritage is my foundation of this essay. My starting point is that the Royal library make a choice when they collect material to be a cultural heritage and the memories gathered for future generations. I used organizational theory to find answer to how the collection been gathered through studies of the organizations interaction with the members of the organization, the process in the organizations, like goals and policy, and the organizations interaction with other organizations. I used case-study as my method. I interviewed most of the chiefs who were in charge of the unit during the period 1958-2008 and worked through journals of acquisition, annual reports, letters of regulation, exchange of letters and other in-house material. My results are that the acquisition of photography follows the Royal library's acquisition of picture at large. The culture heritage that the library collect for future generations is based on the content rather than the form of the material. This aspect was founded early in the creation of the library and has kept its status as a guiding line ever since. The main categories of collection are based on the motif of the photography and are the following; portrait, topography and events. Events is a new category but a sequel of an old category, historical wall chart. The material that the photographies are made of has varied but the majority have been photographies on paper. Gifts and purchases have been the most common ways for the library to collect photographies. Gifts have been treated differently through the years, from the beginning all gifts were received and the library asked actively for special gifts, later the library decided whether or not they should accept a gift. The policy from both the library and from the government have been vague, but lately they have been working on a new and more detailed policy from 2008.
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Croft, David. "Semi-automated co-reference identification in digital humanities collections." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10491.
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Locating specific information within museum collections represents a significant challenge for collection users. Even when the collections and catalogues exist in a searchable digital format, formatting differences and the imprecise nature of the information to be searched mean that information can be recorded in a large number of different ways. This variation exists not just between different collections, but also within individual ones. This means that traditional information retrieval techniques are badly suited to the challenges of locating particular information in digital humanities collections and searching, therefore, takes an excessive amount of time and resources. This thesis focuses on a particular search problem, that of co-reference identification. This is the process of identifying when the same real world item is recorded in multiple digital locations. In this thesis, a real world example of a co-reference identification problem for digital humanities collections is identified and explored. In particular the time consuming nature of identifying co-referent records. In order to address the identified problem, this thesis presents a novel method for co-reference identification between digitised records in humanities collections. Whilst the specific focus of this thesis is co-reference identification, elements of the method described also have applications for general information retrieval. The new co-reference method uses elements from a broad range of areas including; query expansion, co-reference identification, short text semantic similarity and fuzzy logic. The new method was tested against real world collections information, the results of which suggest that, in terms of the quality of the co-referent matches found, the new co-reference identification method is at least as effective as a manual search. The number of co-referent matches found however, is higher using the new method. The approach presented here is capable of searching collections stored using differing metadata schemas. More significantly, the approach is capable of identifying potential co-reference matches despite the highly heterogeneous and syntax independent nature of the Gallery, Library Archive and Museum (GLAM) search space and the photo-history domain in particular. The most significant benefit of the new method is, however, that it requires comparatively little manual intervention. A co-reference search using it has, therefore, significantly lower person hour requirements than a manually conducted search. In addition to the overall co-reference identification method, this thesis also presents: • A novel and computationally lightweight short text semantic similarity metric. This new metric has a significantly higher throughput than the current prominent techniques but a negligible drop in accuracy. • A novel method for comparing photographic processes in the presence of variable terminology and inaccurate field information. This is the first computational approach to do so.
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Challine, Éléonore. "Une étrange défaite : les projets de musées photographiques en France (1850-1945)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010506.
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Cette thèse traite de l’histoire des projets de musées de photographie en France entre 1850 et 1945. Elle a pour ambition d’étudier et de circonscrire les diverses conceptions du musée photographique – documentaire, artistique, historique, technique, etc. – et leur histoire. Entre la fin du XIXe siècle et la Seconde Guerre mondiale, coexistent deux idées principales dans la conception du musée photographique : ce que nous appellerons « musée des photographies », où la photographie constitue avant tout le moyen d’une encyclopédie ou documentation visuelle, et ce que nous nommerons d’autre part « musée de la photographie », voué à la photographie pour elle-même, non pas en tant qu’instrument d’enregistrement du réel, mais en tant que médium. Cette ambiguïté de conception – la photographie est-elle l’outil ou le sujet du musée ? – est inhérente à la pensée des relations entre photographie et musée et sera l’un des fils rouges de cette étude. Face à l’absence de réalisation de ces projets, qui pour certains ont été expérimentés mais jamais pérennisés, ce travail interroge les causes de ces échecs institutionnels. Il s’articule autour de trois périodes chronologiques qui permettent de retracer les évolutions majeures de ces projets : les années 1850-1880 qui sont celles de la rencontre entre la photographie et les musées ; les années 1880-1910, celles des «musées rêvés de la photographie», qui voient le développement de plusieurs formes muséales ; enfin la période de l’entre-deux-guerres, pendant laquelle on assiste à l’émergence d’une véritable bataille du musée de la photographieThis doctoral dissertation treats the history of the projects of museums of photography in France between 1850 and 1945. It aims to study and identify the various conceptions of the photographic museum - documentary, artistic, historical, technical, etc. – and their history. Between the late nineteenth century and the Second World War, two main ideas coexist in the design of photographic museum: what we shall call "museum of photographs," where photography is first and foremost the means of a visual encyclopedia or documentation, and on the other hand what we shall call a "museum of photography" dedicated to photography for its own sake, not as a means of recording reality, but as a medium. This conceptual ambiguity – Is photography the tool or the subject of the museum ? — is inherent in the relationship between the photograph and the museum, and is one of the principle lines of inquiry in this study. This work examines the causes of these institutional failures given the lack of implementation of these projects, some of which were tried but never continued. It hinges on three chronological periods that trace the major developments of these projects : the years between 1850-1880, where photography and the museum meet; the years of the 'imagined museums photography’ in 1880-1910 where we can see various museum forms develop; and finally, the Interwar period which can be considered as the moment where the true battle for the museum of photography emerged
Books on the topic "Photography collections"
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Landesmuseum, Schweizerisches, ed. Im Licht der Dunkelkammer: Die Schweiz in Photographien des 19. Jahrhunderts aus der Sammlung Herzog = Révélations de la chambre noire : la Suisse du XIXe siècle à travers les photographies de la collection Herzog. Basel: Christoph Merian Verlag, 1994.
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Tsiaras, William, and Hannah W. Blunt. Act of sight: The Tsiaras Family Photography Collection. Waterville, Maine: Colby College Museum of Art, 2020.
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Lee, Rotenberg Mark, and Mirsky Laura, eds. The Rotenberg collection. Köln: Taschen, 1999.
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Gallery, Scottish National Portrait. Masterpieces of photography from the Riddell Collection. [Edinburgh]: Scottish National Portrait Gallery, 1986.
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King, Frazier. The collector's eye: A photographer's view of his contemporaries. Amsterdam: Schilt Publishing, 2019.
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Cutshaw, Stacey McCarroll. In the vernacular: Photography of the everyday. Boston, Mass: Boston University Art Gallery, 2008.
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Kertész, André. André Kertész: The mirror as muse. Chicago: Stephen Daiter Gallery, 1999.
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Kertész, André. André Kertész: A lifetime of perception. New York: Andalusian Books, 1993.
Find full textBook chapters on the topic "Photography collections"
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Tinkler, Penny. "“When I Was a Girl…”: Women Talking about Their Girlhood Photo Collections." In Oral History and Photography, 45–60. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230120099_3.
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Diprose, Graham, Christina Hemsley, and James Hemsley. "Canals, Cities, Museums, Libraries & Photography: a Reconnaissance Study of Regent’s Canal, London." In Proceedings e report, 173–80. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.41.
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City waterways are a valuable part of our cultural heritage. Over the years the usage has changed from business to pleasure. Regent’s Canal, cutting across north central London since 1820, has a rich social and industrial history. Much of this history has been and is being captured via photographs. Many of these are being lost due to limited museum resources and disparate collections. This paper reports on phase one of a fifteen-month exploratory research project. The research aims to explore ways of aiding image capture, selection, storage and retrieval. We hope to link with researchers elsewhere, especially in Italy.
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Wells, Liz. "Speaking of this Collection." In Photography, Curation, Criticism, 18–30. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-3.
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Le Guen, Laurence. "Chapter 7. From the “Children of all Lands Stories” to the “Enfants du monde” collection." In Children’s Literature, Culture, and Cognition, 170–88. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.07le.
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Although it does not appear under this name on the shelves of bookshops or libraries, the literary genre of the phototextual country portrait has an effective reality in children’s literature, with a wide variety of publications. These works are regularly published in periods when children’s books are seen as the engine of a new pacifist humanism. They flourished in different parts of the world after the two world wars, all carrying the same message of hope, transmitting the conviction that the world, in its diversity and complexity, is one: our world. This article juxtaposes the works of the 1920s series “Children of all Lands Stories”, by the American photographer and filmmaker Madeline Brandeis, with those of the “Enfants du monde” collection, carried by photographs by French photographer Dominique Darbois, to discuss how photographs and texts are combined to offer the young reader new views of the Other and thus promote peace between peoples through children’s literature.
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Jensen, Bente. "Collecting social digital photography." In The Nordic Model of Digital Archiving, 197–211. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003325406-15.
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Thiel, Franz. "Abel Briquet’s Photograph Collection." In Exploring the Archive, 361–66. Köln: Böhlau Verlag, 2015. http://dx.doi.org/10.7788/9783412218423-015.
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Doubleday, W. E. "Photographic and Regional Survey Records." In Library Local Collections, 79–91. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003228882-7.
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Valentin, Andreas. "The Kroehle-Hübner photographic collection." In Exploring the Archive, 193–208. Köln: Böhlau Verlag, 2015. http://dx.doi.org/10.7788/9783412218423-008.
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Zejdlik, Katie J. "Unmingling Commingled Museum Collections: A Photographic Method." In Commingled and Disarticulated Human Remains, 173–92. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-7560-6_10.
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Jose, Joemon M., and David J. Harper. "A retrieval mechanism for semi-structured photographic collections." In Lecture Notes in Computer Science, 276–92. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/bfb0022038.
Full textConference papers on the topic "Photography collections"
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Diaz, Mauricio, and Peter Sturm. "Radiometric calibration using photo collections." In 2011 IEEE International Conference on Computational Photography (ICCP). IEEE, 2011. http://dx.doi.org/10.1109/iccphot.2011.5753117.
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Hasinoff, Samuel W., Martyna Jozwiak, Fredo Durand, and William T. Freeman. "Search-and-replace editing for personal photo collections." In 2010 IEEE International Conference on Computational Photography (ICCP). IEEE, 2010. http://dx.doi.org/10.1109/iccphot.2010.5585099.
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Chelliah, Shobhana. "Making Photographs in Language Archives Maximally Useful: Metadata Guidelines for Community and Academic Depositors." In International Workshop on Digital Language Archives: LangArc-2023. University of North Texas, 2023. http://dx.doi.org/10.12794/langarc2114301.
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Collections in language archives typically include photographs. The purpose of these photographs is to supplement linguistic information about materials, places, and people related to cultural activities that are being forgotten. Instruction on metadata creation for these photograph deposits must take into consideration the variety of depositors to and users of language archives. In addition to the use of existing controlled vocabularies, classification lists, or thesauri in metadata creation, we observe in metadata for photographs the need for open-ended descriptions of personal experience related to the objects, places, and things photographed.
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Li, Zinuo, Xuhang Chen, Shuqiang Wang, and Chi-Man Pun. "A Large-Scale Film Style Dataset for Learning Multi-frequency Driven Film Enhancement." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/129.
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Film, a classic image style, is culturally significant to the whole photographic industry since it marks the birth of photography. However, film photography is time-consuming and expensive, necessitating a more efficient method for collecting film-style photographs. Numerous datasets that have emerged in the field of image enhancement so far are not film-specific. In order to facilitate film-based image stylization research, we construct FilmSet, a large-scale and high-quality film style dataset. Our dataset includes three different film types and more than 5000 in-the-wild high resolution images. Inspired by the features of FilmSet images, we propose a novel framework called FilmNet based on Laplacian Pyramid for stylizing images across frequency bands and achieving film style outcomes. Experiments reveal that the performance of our model is superior than state-of-the-art techniques. The link of our dataset and code is https://github.com/CXH-Research/FilmNet.
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Holm, Jack. "Survey of developing electronic photography standards." In Critical Review Collection. SPIE, 1996. http://dx.doi.org/10.1117/12.229259.
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Hess Norris, Debra. "All you need is love." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.3.13.
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Preservation of photographic materials, both physical and digital, presents numerous challenges, and photographic collections are at risk world-wide. In response to this danger, regional partners have worked with international organizations to forge global training initiatives and platforms centred on experiential learning and designed with curricula tailored to speci c climates, geographies, needs and outcomes. paper highlights three forward-thinking e orts. The Middle East Photograph Preservation Initiative (MEPPI) has provided training to collections in 16 countries. Préservation du Patrimoine Photographique Africain (3PA) has connected and empowered talented African archivists, artists and collections care professionals. Training efforts by APOYO have sought to build a regional network to preserve collections in Latin America. By using problem-based learning, advocacy and community engagement, these programmes offer new paths for collaboration in an effort to protect a critical piece of our world heritage.
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Красильникова, Дарья Сергеевна. "PHOTOGRAPHIC COLLECTION FROM N. ZHUKOVSKAYA’S (1874-1940) PERSONAL ARCHIVE IN THE COLLECTION OF THE LITERARY MUSEUM OF THE PUSHKIN HOUSE." In Фундаментальные и прикладные исследования. Актуальные проблемы и достижения: сборник статей XXIII всероссийской (национальной) научной конференции (Санкт-Петербург, Декабрь 2023). Crossref, 2024. http://dx.doi.org/10.37539/231206.2023.53.10.002.
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Данная статья представляет собой обзор и атрибуцию недавно выявленного архива фотоматериалов драматурга и переводчицы Натальи Юльевны Жуковской-Лисенко (1874-1940) в собрании Литературного музея Пушкинского Дома. Фотографии представляют собой портреты семей Жуковских, Ильиных и Лисенко. Особое внимание уделяется фотографиям, связанным с театральной деятельностью Натальи Юльевны, запечатлевшим сцены из театральных постановок и актеров, исполнявших роли в ее пьесах. Собрание писательницы позволяет ощутить ту театральную среду России конца XIX - начала XX веков. This article is a review and attribution of a recently discovered archive of photographic materials of the playwright and translator Natalya Zhukovskaya-Lisenko (1874-1940) in the collection of the Literary Museum of the Pushkin House. The photographs present portraits of the Zhukovsky, Ilyin and Lisenko families. Particular attention is paid to photographs related to Natalya Yulievna’s theatrical activities, capturing scenes from theatrical productions and actors who performed roles in her plays. The writer’s collection allows you to feel the theatrical environment of Russia at the end of the 19th and beginning of the 20th centuries.
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Frey, Franziska S. "Digitization of photographic collections." In Electronic Imaging '97, edited by V. Ralph Algazi, Sadayasu Ono, and Andrew G. Tescher. SPIE, 1997. http://dx.doi.org/10.1117/12.270055.
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Pereira, Luciana Noronha, Alina Gonçalves Santiago, and Fernando Machado. "Imagem turística e novas tecnologia de comunicação e informação: o caso de Balneário Camboriú/SC." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Curso de Arquitetura e Urbanismo. Universidade do Vale do Itajaí, 2016. http://dx.doi.org/10.5821/siiu.6327.
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A paisagem constitui um dos principais componentes da atratividade em localidades turística, de
maneira que os registros fotográficos contribuem para a construção de uma narrativa da experiência
espacial turística. Nesse sentido, o surgimento das novas Tecnologias de Comunicação e Informação
– TIC tem ampliado de modo expressivo a audiência que tem acesso a estes registros imagéticos,
ampliando também seu potencial de interferir na formação da imagem da cidade, bem como na
apropriação dos atrativos turísticos. Assim, o objetivo deste estudo foi analisar possíveis impactos
das publicações de imagens fotográficas através de novas TIC na construção da imagem de
destinações turísticas, tendo em vista o caso de Balneário Camboriú/SC. A metodologia utilizada teve
abordagem qualitativa, perspectiva sistêmica e foi organizada a partir de etapas de coleta incluindo,
identificação e seleção de softwares, aplicativos e sites para a busca e coleta as imagens fotográficas
publicadas e coleta e análise de abordagem semiótica das fotografias coletadas e seus respectivos
comentários. Dentre os resultados, verificou-se a crescente disponibilidade de informações acerca de
destinações turísticas, especialmente aquelas produzidas de modo coletivo, não-programado e
personalizado, disponibilizadas para audiências não delimitadas através de diferentes aplicativos. Em
Balneário Camboriú, as fotografias publicadas nos aplicativos pesquisados favorecem a construção
de uma imagem parcial e fragmentada, com sobreposições, destacando-se a orla e áreas turísticas, e
ausências, através da exclusão das áreas mais afastadas do mar. The landscape constitutes a major component of attractiveness in tourist locations, way that, your
photographic records contribute to the construction of a narrative space tourist experience. In this
sense, the emergence of new Information and Communication Technologies – ICT, it has significantly
expanded the audience to these imagistic records, also expanding its potential to interfere with the
city's image formation and appropriation of tourist attractions. The aim of this study was to analyze
possible impacts of photography publications through new TIC’s in building the image of tourist
destinations, in view of the case of the city of Balneário Camboriú. The methodology was qualitative
approach, systemic approach and was organized from collection steps including identification and
selection of software, applications and websites for search and also collection of published
photographic images, and collection and semiotic approach to analysis of collected photographs and
their comments. Among the results, there was the increasing availability of information about tourist
destinations, especially those produced collectively, non-programmed and custom, which were made available to not defined audiences through the internet. In the city of Balneário Camboriú, photographs
published in surveyed applications, favor the construction of a partial and fragmented image, with
image overlays, highlighting the waterfront and tourist areas, and absences, through the exclusion of
areas furthest from the sea.
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Golder, Scott. "Measuring social networks with digital photograph collections." In the nineteenth ACM conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1379092.1379104.
Full textReports on the topic "Photography collections"
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Jonasson, I. R., E. M. Hillary, D. Kliza-Petelle, and R. E. Bretzlaff. Ore mineral collections at the GSC: a short history, with digital and photographic index for part of the Booth Street Collection. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2015. http://dx.doi.org/10.4095/296399.
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Bridges, Todd, E. Bourne, Burton Suedel, Emily Moynihan, and Jeff King. Engineering With Nature : An Atlas, Volume 2. Engineer Research and Development Center (U.S.), March 2021. http://dx.doi.org/10.21079/11681/40124.
Full textAbstract:
Engineering With Nature: An Atlas, Volume 2 showcases EWN principles and practices "in action" through 62 projects from around the world. These exemplary projects demonstrate what it means to partner with nature to deliver engineering solutions with triple-win benefits. The collection of projects included were developed and constructed by a large number of government, private sector, non-governmental organizations, and other organizations. Through the use of photographs and narrative descriptions, the EWN Atlas was developed to inspire interested readers and practitioners with the potential to engineer with nature.
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Tritinger, Amanda, Zelini Hubbard, Courtney Chambers, Burton Suedel, E. Bourne, Emily Moynihan, Ram Mohan, and Jeffrey King. Engineering With Nature: An Atlas, Volume 3. Engineer Research and Development Center (U.S.), May 2024. http://dx.doi.org/10.21079/11681/48453.
Full textAbstract:
Engineering With Nature: An Atlas, Volume 3 showcases EWN principles and practices "in action" through 58 projects from around the world. These exemplary projects demonstrate what it means to partner with nature to deliver engineering solutions with triple-win benefits. The collection of projects included were developed and constructed by a large number of government, private sector, nongovernmental organizations, and other organizations. Through the use of photographs and narrative descriptions, the EWN Atlas was developed to inspire interested readers and practitioners with the potential to engineer with nature.
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Maranghides, A. Initial Reconnaissance of the 2011 Wildland-Urban Interfaces Fires in Amarillo, Texas. Gaithersburg, MD: National Institute of Standards and Technology, 2011. http://dx.doi.org/10.6028/nist.tn.1708.
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The National Institute of Standards and Technology (NIST) is working to reduce the risk of fire spread in Wildland-Urban Interface (WUI) communities. An objective of this work is to develop first generation tools for improved risk assessment and risk mitigation in WUI communities at risk from wildfires. These tools will be developed and tested through a coordinated effort that includes laboratory and field measurements, physics-based fire behavior models, and economic cost analysis models. NIST and Texas Forest Service (TFS) worked together in October 2010 to train TFS personnel in the NIST-developed WUI data collection methodology. While the fires that started on February 27, 2011 were still burning around Amarillo, NIST and TFS decided to deploy the joint Team and document the WUI fire event loses and fire behavior. The Tanglewood WUI fire in the outskirts of Amarillo was responsible for the destruction of approximately 101 structures including 35 residences. Field measurements included structure particulars, specifically building construction materials, proximity and type of combustibles to the structure, and damage to wildland and residential vegetation. Documentation included over 29 000 photographs. The data collection and analysis will be documented in two phases, an initial reconnaissance/overview report and a technical report. This summary report will address the particulars of the joint NIST/TFS deployment and the data collection methodology used. Additionally, this report provides a summary of the primary structures lost. A second more detailed technical report will provide the event timeline reconstruction and general fire behavior observations as well as investigate the impacts of structure attributes, landscaping characteristics, topographical features and wildland fire exposure on structure survivability
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Shamblin, Robert, Kevin Whelan, Mario Londono, and Judd Patterson. South Florida/Caribbean Network early detection protocol for exotic plants: Corridors of invasiveness. National Park Service, July 2022. http://dx.doi.org/10.36967/nrr-2293364.
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Exotic plant populations can be potentially catastrophic to the natural communities of South Florida. Aggressive exotics such as Brazillian Pepper (Schinus terebinthifolius) and Melaleuca (Melaleuca quinquinervia) have displaced native habitats and formed monocultures of exotic stands (Dalrymple et al. 2003). Nearby plant nurseries, especially the ones outside the boundaries of Biscayne National Park (BISC) and Everglades National Park (EVER), are a continuous source of new exotic species that may become established within South Florida’s national parks. Early detection and rapid response to these new species of exotic plants is important to maintaining the integrity of the parks’ natural habitats and is a cost-effective approach to management. The South Florida/Caribbean Network (SFCN) developed the South Florida/Caribbean Network Early Detection Protocol for Exotic Plants to target early detection of these potential invaders. Three national parks of South Florida are monitored for invasive, exotic plants using this protocol: Big Cypress National Preserve (BICY), Biscayne National Park (BISC), and Everglades National Park (EVER). These national parks include some 2,411,000 acres (3,767.2 square miles [mi2]) that encompass a variety of habitat types. To monitor the entire area for new species would not be feasible; therefore the basic approach of this protocol is to scan major “corridors of invasiveness,” e.g., paved and unpaved roads, trails, trail heads, off road vehicle (ORV) trails, boat ramps, canals, and campgrounds, for exotic plant species new to the national parks of South Florida. Sampling is optimized using a two- to three-person crew: a trained botanist, a certified herbicide applicator, and optionally a SFCN (or IPMT [Invasive Plant Management Team]) staff member or park staff to take photographs and help with data collection. If infestations are small, they are treated immediately by the herbicide applicator. If large, they are reported to park staff and the Invasive Plant Management Team. The sampling domain is partitioned into five regions, with one region sampled per year. Regions include the terrestrial habitats of Biscayne National Park, the eastern region of Everglades National Park, the western region of Everglades National Park, the northern region of Big Cypress National Preserve, and the southern region of Big Cypress National Preserve. Monitoring of roads, trails, and canals occurs while traveling into and through the parks (i.e., travel at 2–10 mph) using motorized vehicles, airboats, and/or hiking. Campgrounds, boat launches, trailheads, and similar areas, involve complete searches. When an exotic plant is observed, a GPS location is obtained, and coordinates are taken of the plant. Photographs are not taken for every exotic plant encountered, but photographs will be taken for new and unusual species (for example a coastal exotic found in inland habitats). Information recorded at each location includes the species name, size of infestation, abundance, cover class, any treatment/control action taken, and relevant notes. During the surveys, a GPS “track” is also recorded to document the areas surveyed and a field of view is estimated. Field notes, pictures, and GPS data are compiled, entered, and analyzed in a Microsoft Access database. Resource briefs (and optional data summary reports) and associated shapefiles and data are then produced and sent to contacts within the corresponding national parks.
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Douglas, Gordon, and David Moore. Analyzing the Use and Impacts of Oakland Slow Streets and Potential Scalability Beyond Covid-19. Mineta Transportation Institute, July 2022. http://dx.doi.org/10.31979/mti.2021.2152.
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This report presents the results of a mixed-methods study of the 2020-2022 Oakland Slow Streets program. An official response to the Covid-19 pandemic, the program used signs and temporary barricades to limit thru-traffic on 21 miles of city streets to create more and safer space for walking, cycling, and outdoor recreation. Researchers collected data throughout the summer of 2021 on seven designated slow streets plus one cross street and one control street for each – a total of 21 street segments representing conditions in seven different neighborhoods across Oakland. Data collection comprised in-person passerby counts, observations and photographs of local conditions, and logged traffic speed data. Findings vary widely across study sites. In certain cases, observed slow streets saw less car traffic or more bicycle/pedestrian use than one or both of their comparison streets, and in at least one case the slow street was clearly embraced by the local community and used as planners intended; in others the slow street was no different than neighboring streets. The study draws on these findings to identify local conditions that seem likely to make slow treet treatments more or less successful. However, acknowledging that all neighborhoods deserve safer streets and greater outdoor recreational opportunities, the authors argue that better community outreach must be implemented to ensure areas not predisposed to make full use of slow streets can have the opportunity to do so. The study also makes suggestions regarding the potential for rapid, low-cost bike and pedestrian street safety improvements going forward.
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Douglas, Gordon, and David Moore. Analyzing the Use and Impacts of Oakland Slow Streets and Potential Scalability Beyond Covid-19. Mineta Transportation Institute, July 2022. http://dx.doi.org/10.31979/mti.2022.2152.
Full textAbstract:
This report presents the results of a mixed-methods study of the 2020-2022 Oakland Slow Streets program. An official response to the Covid-19 pandemic, the program used signs and temporary barricades to limit thru-traffic on 21 miles of city streets to create more and safer space for walking, cycling, and outdoor recreation. Researchers collected data throughout the summer of 2021 on seven designated slow streets plus one cross street and one control street for each – a total of 21 street segments representing conditions in seven different neighborhoods across Oakland. Data collection comprised in-person passerby counts, observations and photographs of local conditions, and logged traffic speed data. Findings vary widely across study sites. In certain cases, observed slow streets saw less car traffic or more bicycle/pedestrian use than one or both of their comparison streets, and in at least one case the slow street was clearly embraced by the local community and used as planners intended; in others the slow street was no different than neighboring streets. The study draws on these findings to identify local conditions that seem likely to make slow treet treatments more or less successful. However, acknowledging that all neighborhoods deserve safer streets and greater outdoor recreational opportunities, the authors argue that better community outreach must be implemented to ensure areas not predisposed to make full use of slow streets can have the opportunity to do so. The study also makes suggestions regarding the potential for rapid, low-cost bike and pedestrian street safety improvements going forward.
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Taverna, Kristin. Vegetation classification and mapping of land additions at Richmond National Battlefield Park, Virginia: Addendum to technical report NPS/NER/NRTR 2008/128. National Park Service, September 2022. http://dx.doi.org/10.36967/2294278.
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In 2008 and 2015, the Virginia Department of Conservation and Recreation, Division of Natural Heritage produced vegetation maps for Richmond National Battlefield Park, following the protocols of the United States Geological Survey (USGS) – National Park Service (NPS) Vegetation Mapping Program. The original 2008 report was part of a regional project to map and classify the vegetation in seven national parks in Virginia. The 2015 report was an addendum to the original report and mapped the vegetation in newly acquired parcels. Since 2015, the park has acquired an additional 820 acres of land within 12 individual parcels, including the 650 acre North Anna unit. This report is an addendum to the 2008 and 2015 reports and documents the mapping of vegetation and other land-use classes for the 12 new land parcels at Richmond National Battlefield Park, with an updated vegetation map for the entire park. The updated map and associated data provide information on the sensitivity and ecological integrity of habitats and can help prioritize areas for protection. The vegetation map of the new land parcels includes eighteen map classes, representing 14 associations from the United States National Vegetation Classification, one nonstandard, park-specific class, and three Anderson Level II land-use categories. The vegetation classification and map classes are consistent with the original 2008 report. Vegetation-map classes for the new land parcels were identified through field reconnaissance, data collection, and aerial photo interpretation. Aerial photography from 2017 served as the base map for mapping the 12 new parcels, and field sampling was conducted in the summer of 2020. Three new map classes for the Park were encountered and described during the study, all within the North Anna park unit. These map classes are Coastal Plain / Outer Piedmont Basic Mesic Forest, Northern Coastal Plain / Piedmont Oak – Beech / Heath Forest, and Southern Piedmont / Inner Coastal Plain Floodplain Terrace Forest. The examples of Coastal Plain / Outer Piedmont Basic Mesic Forest and Southern Piedmont / Inner Coastal Plain Floodplain Terrace Forest at North Anna meet the criteria of size, condition, and landscape context to be considered a Natural Heritage exemplary natural community occurrence and should be targeted for protection and management as needed. New local and global descriptions for the three map classes are included as part of this report. Refinements were made to the vegetation field key to include the new map classes. The updated field key is part of this report. An updated table listing the number of polygons and total hectares for each of the 28 vegetation- map classes over the entire park is also included in the report. A GIS coverage containing a vegetation map for the entire park with updated Federal Geographic Data Committee (FGDC) compliant metadata was completed for this project. The attribute table field names are the same as the 2008 and 2015 products, with the exception of an additional field indicating the year each polygon was last edited.
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Ley, Matt, Tom Baldvins, David Jones, Hanna Pilkington, and Kelly Anderson. Vegetation classification and mapping: Gulf Islands National Seashore. National Park Service, May 2023. http://dx.doi.org/10.36967/2299028.
Full textAbstract:
The Gulf Islands National Seashore (GUIS) vegetation inventory project classified and mapped vegetation on park-owned lands within the administrative boundary and estimated thematic map accuracy quantitatively. The project began in June 2016. National Park Service (NPS) Vegetation Mapping Inventory Program provided technical guidance. The overall process included initial planning and scoping, imagery procurement, field data collection, data analysis, imagery interpretation/classification, accuracy assessment (AA), and report writing and database development. Initial planning and scoping meetings took place during May, 2016 in Ocean Springs, Mississippi where representatives gathered from GUIS, the NPS Gulf Coast Inventory and Monitoring Network, and Colorado State University. Primary imagery used for interpretation was 4-band (RGB and CIR) orthoimages from 2014 and 2016 with resolutions of 15 centimeters (cm) (Florida only) and 30 cm. Supplemental imagery with varying coverage across the study area included National Aerial Imagery Program 50 cm imagery for Mississippi (2016) and Florida (2017), 15 and 30 cm true color Digital Earth Model imagery for Mississippi (2016 and 2017), and current and historical true-color Google Earth and Bing Map imagery. National Oceanic Atmospheric Administration National Geodetic Survey 30 cm true color imagery from 2017 (post Hurricane Nate) supported remapping the Mississippi barrier islands after Hurricane Nate. The preliminary vegetation classification included 59 United States National Vegetation Classification (USNVC) associations. Existing vegetation and mapping data combined with vegetation plot data contributed to the final vegetation classification. Quantitative classification using hierarchical clustering and professional expertise was supported by vegetation data collected from 250 plots in 2016 and 29 plots in 2017 and 2018, as well as other observational data. The final vegetation classification includes 39 USNVC associations and 5 park special types; 18 forest and woodland, 7 shrubland, 17 herbaceous, and 2 sparse vegetation types were identified. The final GUIS map consists of 38 map classes. Land cover classes include four types: non-vegetated barren land / borrow pit, developed open space, developed low – high intensity, and water/ocean. Of the 34 vegetation map classes, 26 represent a single USNVC association/park special, six map classes contain two USNVC associations/park specials, and two map classes contain three USNVC associations/park specials. Forest and woodland associations had an abundance of sand pine (Pinus clausa), slash pine (Pinus elliottii), sand live oak (Quercus geminata), yaupon (Ilex vomitoria), wax myrtle (Morella cerifera), and saw palmetto (Serenoa repens). Shrubland associations supported dominant species such as eastern baccharis (Baccharis halimifolia), yaupon (Ilex vomitoria), wax myrtle (Morella cerifera), saw palmetto (Serenoa repens), and sand live oak (Quercus geminata). Herbaceous associations commonly included camphorweed (Heterotheca subaxillaris), needlegrass rush (Juncus roemerianus), bitter seabeach grass (Panicum amarum var. amarum), gulf bluestem (Schizachyrium maritimum), saltmeadow cordgrass (Spartina patens), and sea oats (Uniola paniculata). The final GUIS vegetation map consists of 1,268 polygons totaling 35,769.0 hectares (ha) or 88,387.2 acres (ac). Mean polygon size excluding water is 3.6 ha (8.9 ac). The most abundant land cover class is open water/ocean which accounts for approximately 31,437.7 ha (77,684.2 ac) or 87.9% of the total mapped area. Natural and ruderal vegetation consists of 4,176.8 ha (10,321.1 ac) or 11.6% of the total area. Within the natural and ruderal vegetation types, herbaceous types are the most extensive with 1945.1 ha (4,806.4 ac) or 46.5%, followed by forest and woodland types with 804.9 ha (1,989.0 ac) or 19.3%, sparse vegetation types with 726.9 ha (1,796.1 ac) or 17.4%, and shrubland types with 699.9 ha (1,729.5 ac) or 16.8%. Developed open space, which can include a matrix of roads, parking lots, park-like areas and campgrounds account for 153.8 ha (380.0 ac) or 0.43% of the total mapped area. Artificially non-vegetated barren land is rare and only accounts for 0.74 ha (1.82 ac) or 0.002% of the total area. We collected 701 AA samples to evaluate the thematic accuracy of the vegetation map. Final thematic accuracy, as a simple proportion of correct versus incorrect field calls, is 93.0%. Overall weighted map class accuracy is 93.6%, where the area of each map class was weighted in proportion to the percentage of total park area. This method provides more weight to larger map classes in the park. Each map class had an individual thematic accuracy goal of at least 80%. The hurricane impact area map class was the only class that fell below this target with an accuracy of 73.5%. The vegetation communities impacted by the hurricane are highly dynamic and regenerated quickly following the disturbance event, contributing to map class disagreement during the accuracy assessment phase. No other map classes fell below the 80% accuracy threshold. In addition to the vegetation polygon database and map, several products to support park resource management are provided including the vegetation classification, field key to the associations, local association descriptions, photographic database, project geodatabase, ArcGIS .mxd files for map posters, and aerial imagery acquired for the project. The project geodatabase links the spatial vegetation data layer to vegetation classification, plot photos, project boundary extent, AA points, and the PLOTS database. The geodatabase includes USNVC hierarchy tables allowing for spatial queries of data associated with a vegetation polygon or sample point. All geospatial products are projected using North American Datum 1983 (NAD83) in Universal Transverse Mercator (UTM) Zone 16 N. The final report includes methods and results, contingency tables showing AA results, field forms, species list, and a guide to imagery interpretation. These products provide useful information to assist with management of park resources and inform future management decisions. Use of standard national vegetation classification and mapping protocols facilitates effective resource stewardship by ensuring the compatibility and widespread use throughout the NPS as well as other federal and state agencies. Products support a wide variety of resource assessments, park management and planning needs. Associated information provides a structure for framing and answering critical scientific questions about vegetation communities and their relationship to environmental processes across the landscape.
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Ley, Matt, Tom Baldvins, Hannah Pilkington, David Jones, and Kelly Anderson. Vegetation classification and mapping project: Big Thicket National Preserve. National Park Service, 2024. http://dx.doi.org/10.36967/2299254.
Full textAbstract:
The Big Thicket National Preserve (BITH) vegetation inventory project classified and mapped vegetation within the administrative boundary and estimated thematic map accuracy quantitatively. National Park Service (NPS) Vegetation Mapping Inventory Program provided technical guidance. The overall process included initial planning and scoping, imagery procurement, vegetation classification field data collection, data analysis, imagery interpretation/classification, accuracy assessment (AA), and report writing and database development. Initial planning and scoping meetings took place during May, 2016 in Kountze, Texas where representatives gathered from BITH, the NPS Gulf Coast Inventory and Monitoring Network, and Colorado State University. The project acquired new 2014 orthoimagery (30-cm, 4-band (RGB and CIR)) from the Hexagon Imagery Program. Supplemental imagery for the interpretation phase included Texas Natural Resources Information System (TNRIS) 2015 50 cm leaf-off 4-band imagery from the Texas Orthoimagery Program (TOP), Farm Service Agency (FSA) 100-cm (2016) and 60 cm (2018) National Aerial Imagery Program (NAIP) imagery, and current and historical true-color Google Earth and Bing Maps imagery. In addition to aerial and satellite imagery, 2017 Neches River Basin Light Detection and Ranging (LiDAR) data was obtained from the United States Geological Survey (USGS) and TNRIS to analyze vegetation structure at BITH. The preliminary vegetation classification included 110 United States National Vegetation Classification (USNVC) associations. Existing vegetation and mapping data combined with vegetation plot data contributed to the final vegetation classification. Quantitative classification using hierarchical clustering and professional expertise was supported by vegetation data collected from 304 plots surveyed between 2016 and 2019 and 110 additional observation plots. The final vegetation classification includes 75 USNVC associations and 27 park special types including 80 forest and woodland, 7 shrubland, 12 herbaceous, and 3 sparse vegetation types. The final BITH map consists of 51 map classes. Land cover classes include five types: pasture / hay ground agricultural vegetation; non ? vegetated / barren land, borrow pit, cut bank; developed, open space; developed, low ? high intensity; and water. The 46 vegetation classes represent 102 associations or park specials. Of these, 75 represent natural vegetation associations within the USNVC, and 27 types represent unpublished park specials. Of the 46 vegetation map classes, 26 represent a single USNVC association/park special, 7 map classes contain two USNVC associations/park specials, 4 map classes contain three USNVC associations/park specials, and 9 map classes contain four or more USNVC associations/park specials. Forest and woodland types had an abundance of Pinus taeda, Liquidambar styraciflua, Ilex opaca, Ilex vomitoria, Quercus nigra, and Vitis rotundifolia. Shrubland types were dominated by Pinus taeda, Ilex vomitoria, Triadica sebifera, Liquidambar styraciflua, and/or Callicarpa americana. Herbaceous types had an abundance of Zizaniopsis miliacea, Juncus effusus, Panicum virgatum, and/or Saccharum giganteum. The final BITH vegetation map consists of 7,271 polygons totaling 45,771.8 ha (113,104.6 ac). Mean polygon size is 6.3 ha (15.6 ac). Of the total area, 43,314.4 ha (107,032.2 ac) or 94.6% represent natural or ruderal vegetation. Developed areas such as roads, parking lots, and campgrounds comprise 421.9 ha (1,042.5 ac) or 0.9% of the total. Open water accounts for approximately 2,034.9 ha (5,028.3 ac) or 4.4% of the total mapped area. Within the natural or ruderal vegetation types, forest and woodland types were the most extensive at 43,022.19 ha (106,310.1 ac) or 94.0%, followed by herbaceous vegetation types at 129.7 ha (320.5 ac) or 0.3%, sparse vegetation types at 119.2 ha (294.5 ac) or 0.3%, and shrubland types at 43.4 ha (107.2 ac) or 0.1%. A total of 784 AA samples were collected to evaluate the map?s thematic accuracy. When each AA sample was evaluated for a variety of potential errors, a number of the disagreements were overturned. It was determined that 182 plot records disagreed due to either an erroneous field call or a change in the vegetation since the imagery date, and 79 disagreed due to a true map classification error. Those records identified as incorrect due to an erroneous field call or changes in vegetation were considered correct for the purpose of the AA. As a simple plot count proportion, the reconciled overall accuracy was 89.9% (705/784). The spatially-weighted overall accuracy was 92.1% with a Kappa statistic of 89.6%. This method provides more weight to larger map classes in the park. Five map classes had accuracies below 80%. After discussing preliminary results with the parl, we retained those map classes because the community was rare, the map classes provided desired detail for management or the accuracy was reasonably close to the 80% target. When the 90% AA confidence intervals were included, an additional eight classes had thematic accruacies that extend below 80%. In addition to the vegetation polygon database and map, several products to support park resource management include the vegetation classification, field key to the associations, local association descriptions, photographic database, project geodatabase, ArcGIS .mxd files for map posters, and aerial imagery acquired for the project. The project geodatabase links the spatial vegetation data layer to vegetation classification, plot photos, project boundary extent, AA points, and PLOTS database sampling data. The geodatabase includes USNVC hierarchy tables allowing for spatial queries of data associated with a vegetation polygon or sample point. All geospatial products are projected using North American Datum 1983 (NAD83) in Universal Transverse Mercator (UTM) Zone 15 N. The final report includes methods and results, contingency tables showing AA results, field forms, species list, and a guide to imagery interpretation. These products provide useful information to assist with management of park resources and inform future management decisions. Use of standard national vegetation classification and mapping protocols facilitates effective resource stewardship by ensuring the compatibility and widespread use throughout NPS as well as other federal and state agencies. Products support a wide variety of resource assessments, park management and planning needs. Associated information provides a structure for framing and answering critical scientific questions about vegetation communities and their relationship to environmental processes across the landscape.