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Journal articles on the topic 'Photography, Industrial'
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1
Korola, Katerina. "The Air of Objectvity." Representations 157, no. 1 (2022): 90–114. http://dx.doi.org/10.1525/rep.2022.157.5.90.
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Focusing on Albert Renger-Patzsch’s photographs of the Zollverein colliery, this essay investigates the tension between the clarity of Renger-Patzsch’s aesthetic and the physical reality of the industrial environment in which he worked. In doing so, it offers an account of New Objectivity photography that is attentive to both the environment from which it emerged and the way in which photography, in turn, acted upon this environment. Placing particular stress on the clear contours and white backgrounds of these photographs, as well as their material and technical prerequisites, it argues that the radical clarity of Renger-Patzsch’s photographs is best regarded as an active intervention into a compromised environment, in which the photographer was called upon to bring forth clarity from the dust and smoke of industrial extraction.
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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (July 13, 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Snyder, Robert E. "Margaret Bourke-White and the Communist Witch Hunt." Journal of American Studies 19, no. 1 (April 1985): 5–25. http://dx.doi.org/10.1017/s0021875800020028.
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Margaret Bourke-White (1904–1971) has been called “the most famous woman photographer” and “the finest woman photographer of our times.” Indeed, in a photographic career that spanned nearly five decades, Bourke-White demonstrated great professional versatility, registered many photographic firsts, and in a male-dominated field set standards by which others were measured. During the 1920s, Bourke-White carved out her first reputation in architectural and industrial photography. Her pictures of steel mills, shipyards, packing houses, logging camps, quarries, auto plants, skyscrapers, banks, and terminals captured the atmosphere of the industry and the dynamics of the capitalist system. Her industrial photography was of such outstanding quality that, as one critic observed, it “transformed the American factory into a Gothic cathedral.”Henry Luce was so impressed by her early work that he hired her as the first photographer for his business magazine Fortune. Under a unique arrangement she was allowed six months out of the year to pursue her own private studio practice for advertising agencies and corporations. When Henry Luce added the pictorial magazine Life to his growing publishing empire in the 1930s, he selected Margaret Bourke-White to become one of the four original staff photographers. At Life she established the tradition of negatives printed full frame and proved by black borders, and pioneered the synchronized multiple flash picture. Bourke-White revealed the range of her photographic talents in photo essays, murals, and documentary travelogues. “As a result of her twelve- and fourteen-page essays,” Carl Mydans noted, “her monumental work became known throughout the world — beyond that of any other photographer.”
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Anderson, Fay. "Chasing the Pictures: Press and Magazine Photography." Media International Australia 150, no. 1 (February 2014): 47–55. http://dx.doi.org/10.1177/1329878x1415000112.
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For over a century, press and magazine photography has influenced how Australians have viewed society, and played a critical role in Australia's evolving national identity. Despite its importance and longevity, the historiography of Australian news photography is surprising limited. This article examines the history of press and magazine photography and considers its genesis, the transformative technological innovations, debates about images of violence, the industrial attitudes towards photographers and their treatment, the use of photographs and the seismic recent changes. The article argues that while the United States and United Kingdom influenced the trajectory of press and news photography in Australia, there are significant and illuminating differences.
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Guerin, Frances. "Introduction: European photography today." Journal of European Studies 47, no. 4 (October 24, 2017): 331–41. http://dx.doi.org/10.1177/0047244117733893.
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This introduction briefly sketches the relationship between Europe and photography from its earliest days, through the experiments of the 1920s, and into the post-war years. This history is the background for approaching the contemporary concerns of European photography today. Concerns discussed include: the fluidity of Europe’s borders, the commemoration and integration of mass violence, the marginalization of non-citizens, the fallout of the end of industrial capitalism, and the responsibility of the viewers of the photographs in which these issues are envisioned. In addition, the appropriateness of photography, as well as its inadequacy to the task of documenting and imagining the current challenges to Europe, is discussed.
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Roychoudhuri, Ranu. "Documentary Photography, Decolonization, and the Making of “Secular Icons”: Reading Sunil Janah’s Photographs from the 1940s through the 1950s." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 46–80. http://dx.doi.org/10.1177/0974927617717898.
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Through historicizing photographs made by celebrated Indian photographer Sunil Janah (1918–2012), this paper will elucidate the ways in which Janah created “secular icons” of historical moments during India’s passage from the colonial to the postcolonial. I will primarily focus on two sets of Janah’s photographs: the first set is from the 1940s, and centers on the Bengal Famine of 1943, communal violence, and the displacement of population before and after the partition of 1947, while the second set is from the 1950s, and emphasizes in particular photo-documentations of independent India’s industrial growth during the first two five-year plans. Contrast between these two sets will focus on two distinct ways of becoming iconic, while also highlighting the politics of revival/retrospection and the ways in which particular genres of photographs are memorialized, while others remain relatively unknown. Later day viewers of Janah’s photographs have seen only the political import of his pre-independence photographs of the Bengal Famine (1943) and the post-Partition mass exodus, while I argue for a seamless continuity between Janah’s pre-Independence social-documentation and post-independence industrial photography. I further contend that Janah’s photographs were material traces of an indubitable reality that embodied and at the same time exceeded their ideological message.
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Prehn, Ulrich. "Working Photos: Propaganda, Participation, and the Visual Production of Memory in Nazi Germany." Central European History 48, no. 3 (September 2015): 366–86. http://dx.doi.org/10.1017/s0008938915000795.
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AbstractThis article examines images of Germany's “working world” in the 1930s and 1940s. Analyzing photos from three different genres—factory photography, special-occasion industrial photography, and the work of nonprofessional photographers—it addresses a series of questions: How was the “working world” depicted in photographs from this period? What were the different modes, functions, and effects of visual representations of work and workers in these three genres? In what ways did these photographs contribute to the (visual) production and “shaping” of memory—in terms of worker experiences, as well as with respect to attempts by the National Socialists to promote ideological notions of community-building (Vergemeinschaftung)? The main argument is that photography served as an important tool for the mobilization and self-mobilization of German workers under the Nazi regime.
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Pfingsten, Claus. "Albert Renger-Patzsch: Early industrial photography." History of Photography 21, no. 3 (September 1997): 187–91. http://dx.doi.org/10.1080/03087298.1997.10443827.
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Buchloh, Benjamin H. D. "Ilse Bing: A Frankfurt School Photographer in Paris and New York." October 173 (September 2020): 176–206. http://dx.doi.org/10.1162/octo_a_00407.
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Ilse Bing was one of those Weimar photographers whose work was recognized or rediscovered later than that of many of her more famous female peers. Her photographic project sprang largely from her persistent subversion of the stylistic oppositions of New Vision photography and New Objectivity. Just as complex was the work she produced after moving to Paris, defined as it was by her cross-cutting of Weimar socialist and French Surrealist photographic mentalities. Comparable in her precise socio-political analysis to the Frankfurt School's critiques of emerging mass-cultural and political formations, Bing's work in the United States, where, barred from publishing in magazines, she was able to pay witness to photography's functioning as a new ideological- and cultural-industrial medium—acquired the melancholic features of a mordant critique of traditional photographic genres such as the portrait.
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Zachariášová, Blanka, Katarína Haberová, Michal Oravec, and Viera Jančovičová. "Plasma treatment of gelatin photography." Acta Chimica Slovaca 12, no. 1 (April 1, 2019): 27–33. http://dx.doi.org/10.2478/acs-2019-0005.
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Abstract Plasma pre-treatment represents the key enabler technology for microfine cleaning, surface activation and plasma coating of almost all types of materials — from plastics, metals and glasses to textiles, composites and photographs. More and more conventional industrial treatment methods are being replaced by plasma technology in order to make processes more effective and environmentally friendly. This study is oriented on the characterization of a photographic image on two types of photographic paper (glossy and matt photographic paper with a barite layer), and monitoring the effects induced by the Atmospheric Discharge with Runaway Electrons (ADRE) plasma in air atmosphere on the photographic image layers. To evaluate their long-term stability before/after plasma treatment, degradation of black and white gelatin photographic components upon accelerated light aging using Q-SUN was investigated and the photoinduced changes were recorded by FTIR spectroscopy, densitometry and colorimetry. The results obtained demonstrated that the plasma discharge had no significant destructive effect on the photographic image as only negligible changes in the structure of the gelatin were detected due to plasma processing. Consequently, it can be concluded that low-temperature ADRE plasma in air atmosphere has the potential for successful applications in microbial decontamination and purification of damaged gelatin photographs.
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Hudgins, Nicole. "Art and Death in French Photographs of Ruins, 1914-1918." Historical Reflections/Réflexions Historiques 42, no. 3 (December 1, 2016): 51–70. http://dx.doi.org/10.3167/hrrh.2016.420304.
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The avalanche of ruin photography in the archives, albums, publications, and propaganda of World War I France challenges us to understand what functions such images fulfilled beyond their use as visual documentation. Did wartime images of ruin continue the European tradition of ruiniste art that went back hundreds of years? Or did their violence represent a break from the past? This article explores how ruin photography of the period fits into a larger aesthetic heritage in France, and how the depiction of ruins (religious, industrial, residential, etc.) on the French side of the Western Front provided means of expressing the shock and grief resulting from the unprecedented human losses of the war. Using official and commercial photographs of the period, the article resituates ruin photography as an aesthetic response to war, a symbol of human suffering, and a repository of rage.
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Goncharova, Natalia N., and Alexandra A. Castro Stepanova. "On the possibility of using anthropological photography to determine linear facial dimensions. Methodical article." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (September 14, 2021): 17–26. http://dx.doi.org/10.32521/2074-8132.2021.3.017-026.
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Three samples were analyzed – the population of central Chile (175 men and 55 women), the indigenous population of Altai (38 men and 67 women) and the Russians of Altai (52 men and 42 women). The collection of material took place in two stages: working directly with the subject and working with photographs. Measurements of the parameters of the head and face of the subjects in the field in both cases were carried out according to the classical method of V.V. Bunak, adopted in the Russian anthropometric school. Photographing in portrait and in profile was carried out taking into account the recommendations for the production of anthropological photographs. Further, the dimensions in pixels were calculated from the photographs, and converted into mm using one indicator, which was measured both in the field and from a photograph (the distance between the canines for the Chilean sample, and the width of the nose for the Altai ones). Results and discussion. The sizes obtained in the field were compared with their counterparts obtained from photographs. For these dimensions, regression equations were obtained, allowing to most accurately translate the dimensions obtained from photographs into real dimensions. It was found that in the event that the thickness of soft tissues above the bone base is insignificant or the size does not depend on the bone base, the difference in measurements on the subject and in the photograph is within the boundaries of acceptable discrepancies between researchers. In this case, the performance of the equations will depend on the scale of the element used for recalculation – the larger it is, the smaller the error. Regression equations were obtained on three samples, allowing one to compare the linear dimensions obtained in the analysis of photographic images with the dimensions obtained in the field. However, it should be emphasized that only the mean values obtained using the regression equations should be used, since in this way individual variability is leveled.
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LOPEZ MUGICA, Joaquin, and Thomas William WHYKE. "Representations of Post-Industrial Shanghai." Asian Studies 12, no. 1 (January 18, 2024): 355–87. http://dx.doi.org/10.4312/as.2024.12.1.355-387.
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This article explores how vernacular aesthetics have been re-appropriated from pictorial to modern documentary photography over the past century to instigate a modern collective imagination of the industrial disintegration in the Chinese urban milieu. Within the scope of a discursive visual process, Jean Philippe Gauvrit (b.1963) documents the departure of the industrial urban society in his photo-essay Shanghai in JP Gauvrit (2008). The paper claims that Gauvrit’s documentary photography can be understood as a visual critical discourse of several representational perspectives of time that render visible anachronistic and new social structures that come into being: between utopias of the past and visions of the future in an alternative chronotopic ‘present’ cartography. Drawing on Bakhtin’s (1981) conception of chronotope, in this study, the sublime industrial comes to be represented as an intelligible reconfiguration of linear and cyclical time. By linking that socio-economic reality of that time with a collective consciousness, documentary photography can serve as a chronotope that reveals both the tension and the assimilation relating to the historical myths that lie between the fall of an industrial mode of production and the birth of a post-industrial cultural city in an era of de-industrialization.
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Kane, Carolyn. "The Toxic Sublime: Landscape Photography and Data Visualization." Theory, Culture & Society 35, no. 3 (January 12, 2018): 121–47. http://dx.doi.org/10.1177/0263276417745671.
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If the cliché about garbage – ‘Out of sight, out of mind’ – is true, its inverse, unfortunately, is not. Heaps and masses of garbage brought into direct view still somehow manage to escape acute recognition, let alone social responsibility or global political activism. This article investigates this trend as a growing problem between the human world and representation. Focusing on historical and contemporary landscape photography, the article questions whether data visualization trends, particularly those that attempt to visualize the post-industrial consumer landscape, help or hinder our capacity to understand our environment, and possibly even ecological endeavors. The article charts the history of photography’s landscape genre, mapping the contours of a shift from the classical ‘nature’ aesthetic, to an industrial, post-industrial, and eventually a mathematical aesthetic contingent on emergent techniques and data visualization in the attempt to depict ever amassing magnitudes of environmental despoliation.
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Way, Jennifer. "Allaying Terror: Domesticating Vietnamese Refugee Artisans as Subjects of American Diplomacy." Humanities 7, no. 3 (August 1, 2018): 77. http://dx.doi.org/10.3390/h7030077.
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A photograph of a basketmaker and photographs of other refugee artisans published in the August 1956 issue of Interiors magazine iterated some common themes of refugee narratives during a decade of significant migration that saw the United Nations sponsor World Refugee Year in 1959. Of particular interest are the ways the publication of the basketmaker photograph helped to demonstrate how Vietnamese refugee artisans suited the needs of an American State Department-led aid project directed by the industrial designer Russel Wright in South Vietnam from 1955–61. The project aimed to export Vietnamese craft to the American middle class as a way to bring South Vietnam into the Free World during the Cold War. This essay explores how the photograph served the American State Department agenda by characterizing its subject in terms of pathos and need. To this point, it helped to allay American anxieties about supporting refugee artisans by depoliticizing the “refugee problem” and resolving it. In this case, refugee photography expressed how the interests of American diplomacy were linking to the American middle class as a demographic becoming synonymous with consumption and whiteness.
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Crary, Jonathan, and Elizabeth Anne McCauley. "Industrial Madness: Commercial Photography in Paris, 1848-1871." American Historical Review 101, no. 3 (June 1996): 855. http://dx.doi.org/10.2307/2169494.
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GREEN, D. "Industrial Madness: Commercial Photography in Paris 1848 1871." Journal of Design History 8, no. 2 (January 1, 1995): 147–49. http://dx.doi.org/10.1093/jdh/8.2.147.
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Brusak, Ivan, Krzysztof Bakuła, and Nataliia Savchuk. "GEODESY, CARTOGRAPHY, AND AERIAL PHOTOGRAPHY." GEODESY, CARTOGRAPHY, AND AERIAL PHOTOGRAPHY 98,2023, no. 98 (December 2023): 15–23. http://dx.doi.org/10.23939/istcgcap2023.98.015.
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Research presents modern technologies of 3D measurements in shipbuilding production parts. Special template of the keel detail was made for the research. The detail measurements with a laser tracker, laser scanning, industrial photogrammetry and handheld scanning are performed. Leica Absolute Tracker AT960-LR was used for Laser tracker measurements. Laser scanning was performed with Z+F Imager 5010. Nikon D2Xs photo camera was used for Industrial photogrammetry. Handheld scanner DPI-7 from DotProduct was also used for 3D measurements of the details. All collected data were imported into 3DReshaper software for comparison. The accuracy comparison for the specific equipment used in the study is performed. The recommendations for optimal equipment use and software products in this research are also included. The authors also present the assessment of the cost and time spent on the measurements.
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Hrytskiv, Nazar, Lyubov Babiy, and Iryna Horyainova. "GEODESY, CARTOGRAPHY AND AERIAL PHOTOGRAPHY." GEODESY, CARTOGRAPHY AND AERIAL PHOTOGRAPHY 95,2022, no. 95 (June 28, 2022): 135–43. http://dx.doi.org/10.23939/istcgcap2022.95.135.
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The problem of applying thematic mapping of production facilities in order to obtain spatial data about the harmful effects on the environment is relevant. One of the factors that minimizes this impact is the observance of sanitary protection zones. Areas designated for sanitary protection zones must correspond to current data, which can be modeled by modern GIS technology using remote sensing data of the Earth, which will allow you to quickly and accurately obtain spatial characteristics of objects and analyze thematic information. Therefore, the aim of the work is to obtain and to analyze spatial thematic data on sanitary protection zones of industrial enterprises. Methods. For the spatial analysis of sanitary protection zones the method of modeling of spatial data using cartographic and remote sensing data and the analysis of the constructed model are applied. Results. A cartographic model was created and compliance with sanitary protection zones by industrial enterprises of Slavuta and Khmelnytsky nuclear power plant was analyzed. Scientific novelty and practical relevance. It consists in the complex application of cartographic and remote sensing data for modeling and analysis of the location of sanitary protection zones of enterprises in the city of Slavuta. The obtained thematic geospatial data can serve to eliminate the shortcomings of planning and development of both enterprises and the surrounding infrastructure. The analysis of the results showed an unsatisfactory state of compliance to requirements of sanitary protection zones by industrial enterprises in Slavuta. The tested workflow can be used for modeling and analysis of sanitary protection zones of enterprises that have a harmful effect on the environment, which will increase the level of control in the field of sanitary legislation using GIS technologies.
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ZI Xin-yun, 资新运, 钱仁军 QIAN Ren-jun, 赵姝帆 ZHAO Shu-fan, 耿帅 GENG Shuai, and 张卫锋 ZHANG Wei-feng. "Measurement of dynamic shaft power based on industrial photography." Optics and Precision Engineering 24, no. 11 (2016): 2672–82. http://dx.doi.org/10.3788/ope.20162411.2672.
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Alizadeh. "‘Daring, Unusual Things’: Bertolt Brecht’s Photo-Epigrams as Poetic Inventions." Humanities 8, no. 2 (April 10, 2019): 73. http://dx.doi.org/10.3390/h8020073.
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This essay explores the aesthetics of Bertolt Brecht’s compositions of poetry with photography in the so-called photo-epigrams of his 1955 book War Primer. The photo-epigrams have mostly been viewed and appreciated as interventions in photography; but in this essay I aim to show their novelty and efficacy as poetic inventions. To do so, I draw on Karl Marx’s and Walter Benjamin’s views apropos the decline of poetry under modern, industrial capitalism to argue that Brecht, in his photo-epigrams, is responding to—and attempting to counter—a specific problem at the heart of modern poetry: the crisis in perceptibility and accessibility. By coupling poems with photographs—in unique and uniquely politicised ways—Brecht provides a resonant critique of the deadly ideologies of the ruling classes engaged in World War II, as well as a method for addressing the decline in the readability of poetry in the modern era.
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Purbrick, Louise. "Mining Photography: The Oficina Alianza and Port of Iquique 1899." Anales del Instituto de Investigaciones Estéticas 1, no. 1 (April 21, 2017): 247. http://dx.doi.org/10.22201/iie.18703062e.2017.1.2595.
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En 1899, el señor Smail, representante de la casa mercantil británica Antony Gibbs and Sons en Chile, envió el álbum de fotografías Oficina Alianza and Port of Iquique 1899, al propietario de la compañía, Henry Hucks Gibbs. Este artículo ofrece un análisis del imaginario fotográfico del álbum, en particular de las convenciones de la fotografía industrial en la representación de la minería de nitrato en Chile y del cuerpo del minero en el momento de trabajar. El artícu-lo considera también la función del álbum fotográfico en la industria de nitrato y su papel en la circulación y el tráfico comercial de nitrato entre Chile y Gran Bretaña.
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Stepanova, Alevtina V., and Alla V. Sukhova. "From the funds of the Museum of Anthropology of the Moscow State University. Photographs of the peoples of the North Caucasus in the exposition of the Anthropological Exhibition of 1879: Kabardians and Shapsugs." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 2 (May 22, 2023): 123–51. http://dx.doi.org/10.32521/2074-8132.2023.2.123-151.
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Introduction. Since the early 1860s photographic practice has become an integral part of the scien-tific process and one of the main methods of ethnographic and anthropological research in Russia. In the course of preparations for the first Ethnographic Exhibition in Russia (1867), organized by the Society of Devotees of Natural Science, Anthropology and Ethnography (OLEAE), the Photographic Commission established by the Exhibition Committee (1866) developed a regulation on the execution of photographic portraits of the local population. In 1872 the first “instructions” in Russia for ethnographic and anthropological photography were published. Materials and methods. The source for the preparation of the article was a collection of photographs collected by E.D. Felitsyn (1848-1903) and presented at the Anthropological Exhibition of 1879 in Moscow. Currently, it is stored in the funds of the D.N. Anuchin Research Institute and the Museum of Anthropology, M.V. Lomonosov Moscow State University. Results and discussion. Photographs of representatives of two nationalities - Kabardians and Shapsugs, who lived in the Kuban region, are described and analyzed: the villages of Blechepsinsky and Khodzsky (currently the village of Blechepsin and the village of Khodz of the Koshekhablsky district of the Republic of Adygea), Khokhondukovsky and Kasaevsky (currently the village of Ali-Berdukovsky and the village of Khabez in the Khabezsky district of the Karachay-Cherkess Republic) and the village of Kudzhirsky in the Maikop district, that was located on the left bank of the river Farce and abolished in 1885. These are: 3 photographs of children (6 and 8 years old), 7 photographs of men (18-58 years old) and 5 photographs of women (18-60 years old). A description of the depicted national clothes is given, as well as a summary of literary anthropological information about the Kabardians and Shapsugs of this period. Conclusion. The first published photographs of representatives of the two peoples of the North Caucasus living in the Kuban region in the second half of the 19th century make it possible to visualize some aspects of the historical information that scientists have at their disposal, to clarify the available anthropolog-ical, historical and cultural data on the Kabardians and Shapsugs, and also are an addition to the historical, archaeological, anthropological, genetic and ethnographic studies of the peoples of the North Caucasus @ 2023. This work is licensed under a CC BY 4.0 license.
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Rykner, Arnaud. "Theatre Photography in Nineteenth Century France: Document, Archive or Pure Fiction?" Studia Universitatis Babeş-Bolyai Dramatica 66, no. 2 (October 30, 2021): 47–72. http://dx.doi.org/10.24193/subbdrama.2021.2.04.
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"Indoor performance photography, which was born in France on the occasion of the Paris World Exhibition in 1889, remains a problematic theatrical and media object to this day. But at the Belle Epoque and until the Second World War at least, it requires to be approached with all the more caution because it is always the fruit of multiple manipulations, either at the time of the making of the shots (mandatory posing of actors, specific lighting, etc.), or at the time of their “post-production” (printing, but especially edition in review or volume). A complex and particularly rich object that must be studied in its context (publications or archives), stage photography is then offered as much as a document to be deciphered as a fiction to be deconstructed. Keywords: theatre photography, France, Belle Epoque, document, photographic archives. "
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Coșniceru, Nicolae. "PHOTOGRAPHY OF TIME." Design/Arts/Culture 3, no. 1 (January 23, 2023): 73–79. http://dx.doi.org/10.12681/dac.31585.
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Seeing the configuration of a place firsthand, we can believe that it has always been like that and we don’t ask ourselves questions about how it looked five years ago or 20 years ago and what processes and changes have taken place. It is possible that it was an unhealthy place and became a point of attraction where the community could spend time and carry out cultural or recreational activities, or it was a protected natural site and interventions beyond the limit of the law would have transformed it into an industrial, residential or commercial area, which led to overcrowding and pollution. Documentaries of the respective place taken at different times can help preserve local history and bring the community awareness of the recent history and the changes that have taken place. They will claim a lost inheritance if this is the case and if social promoters will campaign in this sense. But above all, they need to know the context in which they are. Because they were the object of my study or because I accidentally encountered places that had undergone significant changes and had previous documentation, I proposed to provide documents of organic changes or actions that must be under the lens of criticism. I am motivated by the need to draw attention to the worrying aspects of everyday life, before being too late for public reactions. In a country with a fragile democracy where the authorities do not hear the voice of civil society, I want to bring to the public conscience the negative aspects that are happening here and now, which can have significant implications for the present and future of the population.
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Aziz, Abdul, and M. Imam Tobroni. "Aesthetics exploration of chiaroscuro light: capturing the visual atmosphere of traditional markets in Jakarta." Gelar : Jurnal Seni Budaya 21, no. 1 (June 27, 2023): 80–89. http://dx.doi.org/10.33153/glr.v21i1.5057.
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Photography is needed as a medium of expression and delivery of communication messages. In the field of art, Chiaroscuro is a new vehicle for expression to be translated as a visual object in creating street photography. The main focus that is interesting to know is about the aesthetics of chiaroscuro light in the art of photography. The purpose of this research is to describe how to visualize the aesthetic expressions of researchers about traditional markets in the area of Jakarta. The research method employs an artistic approach within the context of visual field research, emphasizing creativity, subjective perspectives, and interpretations. The analysis techniques center on formal aspects of visual elements, including composition, color, shape, line, and texture, with the goal of understanding how these elements contribute to the overall aesthetic and communicative qualities of the image. Photographic exposure and description are supported by subjective observations. The results of the study show that photography is able to provide aesthetic expression according to the wishes of the researcher. The research contributes to the field by exploring the use of chiaroscuro as a novel expressive tool in street photography, particularly in the context of traditional markets in Jakarta. It demonstrates how an artistic approach and formal visual analysis techniques can effectively capture and convey the aesthetic qualities of these markets, ultimately resulting in a tangible outcome in the form of a photo book, enriching our understanding of urban culture and visual communication.
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Polack, Fiona. "Corporate and Worker Photographs of the Offshore Oil Industry: The Case of the Ocean Ranger." Journal of Canadian Studies 53, no. 1 (February 28, 2019): 152–77. http://dx.doi.org/10.3138/jcs.2018-0009.
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Images of hydrocarbon extraction at sea remain strikingly circumscribed. The most extensively circulated are either the work of professional industrial photographers employed by oil companies to take carefully vetted promotional shots, or of news photographers commissioned to document catastrophes. Corporate-sponsored photography enforces the massive scale of offshore rigs, their technological sophistication, and apparent ability to withstand the vicissitudes of the ocean; it also tends to imply that companies adhere to strict safety regimens, and equal opportunity hiring practices. Photographs created by offshore oil workers are not widely circulated in the public domain. However, three collections of images recently donated to Newfoundland and Labrador’s provincial archives offer new viewpoints on the oil industry. Lance Butler, David Boutcher, and Lloyd Major were all employed on the Ocean Ranger platform, which capsized off the coast of Newfoundland in 1982 with the loss of 84 lives–including Boutcher’s. The men’s images resituate, expand upon, and on occasions challenge tropes that predominate in corporate photography; the striking arrangement of David Boutcher’s snapshots in album format by his mother is also salutary. This essay argues for the necessity of “onshoring” the offshore, and claims that workers’ photographs can potentially help us do so through a variety of means.
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Lozowy, Andriko. "Picturing Industrial Landscapes." Space and Culture 17, no. 4 (November 2014): 388–97. http://dx.doi.org/10.1177/1206331214543869.
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The work of the photographer-researcher is marked by a practice-based approach to explore living in relation to place mediated by the visual, in this case, refinery landscapes. Using a methodology of the photographer-researcher and a theory of visualicity, the Strathcona (Edmonton, Alberta, Canada) refineries are photographed and reflected upon through text. A discussion of Edward Burtynsky follows as a means to contextualize multi-modal approaches to relationships of people and place. These photographs represent refinery landscapes, industrial production, and regimes of security.
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Jennings, Michael W. "The Agency of Things. Infrastructural Space in Weimar Industrial Photography." Monatshefte 109, no. 2 (June 2017): 282–91. http://dx.doi.org/10.3368/m.109.2.282.
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Berce, Françoise. "Les Collections Iconographiques de la Direction du Patrimoine." Art Libraries Journal 15, no. 1 (1990): 22–25. http://dx.doi.org/10.1017/s0307472200006611.
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La Direction du Patrimoine is the successor of the Commission des Monuments historiques, which from its inception in 1837 was responsible for identifying, compiling an inventory of, and restoring, historic buildings. During the 19th century, this meant, in effect, medieval ecclesiastical structures and sites. From the beginning the Commission was careful to safeguard its papers, including drawings and plans of specific buildings; a number of volumes illustrating the nation’s architectural heritage were published in the second half of the 19th century; drawings, and photographs, were commissioned, and a library was assembled. From the 1860s the Commission employed photographers on its staff and efforts were made to record those buildings for which the state was responsible. The documentary resources which accumulated became known as the Bibliothèque des Monuments historiques. Recent decades have witnessed the devolution of the management of historical monuments, while the documentary collections are being cared for, exploited, and developed in a wider context, embracing secular, industrial, vernacular, and modern architecture, as well as art, photography itself, and artefacts from everyday life, to provide the broadest possible documentation of the French cultural heritage. A computer system is used, and many photographic images are being transferred to videodisc.
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Crinson, Mark. "Photography and the industrial city: Manchester and Salford, ancient and modern." Word & Image 18, no. 1 (January 2002): 295–314. http://dx.doi.org/10.1080/02666286.2002.10404831.
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Jacobs, Steven, and Bruno Notteboom. "Photography and the Spatial Transformations of Ghent, 1840-1914." Journal of Urban History 44, no. 2 (February 10, 2016): 203–18. http://dx.doi.org/10.1177/0096144216629969.
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During the nineteenth and early twentieth centuries, the photographic visualization of the Belgian city of Ghent is closely connected to its urban planning. On one hand, the city is transformed according to the logics of industrial modernization with its functional and spatial zoning. On the other hand, the city’s historical heritage is rediscovered and many medieval buildings were preserved and restored. The planning history of Ghent is usually described in two stages: first, the “Haussmannization” of the city, the creation of boulevards and vistas according to the model of Brussels and Paris, and second, the return to regionalism and a picturesque sensibility during the preparation of the 1913 World’s Fair. The photographic representation of the city seems to mirror this evolution, exchanging the image of the city as a series of isolated monuments for a more sensory and immersive experience. However, a close look at a broad range of images produced by both foreign and local photographers allows us to nuance this assumption. Particularly, the work of Edmond Sacré, who photographed Ghent over half a century, combines a “topographical” and a “picturesque” sensibility.
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Mandal, Rahul, Abhijit Ghosh, and A. K. Nirala. "Speckle photography and double aperture speckle interferometry using both sides of a suitably designed hololens imaging configuration." Laser Physics 33, no. 8 (June 19, 2023): 086202. http://dx.doi.org/10.1088/1555-6611/acd7de.
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Abstract In the present work, both sides of a suitably designed hololens imaging configuration have been used in laser speckle photography and double aperture speckle interferometry. A speckle photographic technique has been used to measure in-plane displacement, and a double aperture speckle interferometric technique has been used to measure in-plane displacement component.
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Pirnat, Jani. "Animals in the Years 1914–1918 as Part of War Propaganda." Instinct, Vol. 4, no. 1 (2019): 71–75. http://dx.doi.org/10.47659/m6.071.art.
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The article focuses on examples of also using animals for war propaganda. Photography served to justify animal drafting, to keep up the military morale, and to show how cruel the enemy was. The animal ‘heroes’ of the newspapers– horses, dogs and pigeons – illustrate the attitude of humankind toward animalkind in the first industrial and technological war that showed the vulnerability and the nonsense of using animals on the fronts. Keywords: animals in war, First World War, photography, propaganda images of animals, representation of animals, surveillance
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ARAI, Kazunari, Masayo HOSOKAWA, and Mika KUNISHIMA. "Analysis of fuzzy images by close-up photography of large industrial drones." International Symposium on Affective Science and Engineering ISASE2022 (2022): 1–4. http://dx.doi.org/10.5057/isase.2022-c000016.
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Johnson, Peder. "Strain field measurements in industrial applications using dual-beam digital speckle photography." Optics and Lasers in Engineering 30, no. 5 (November 1998): 421–31. http://dx.doi.org/10.1016/s0143-8166(98)00034-7.
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Jiang, Simon W., Michael Seth Flynn, Jeffery T. Kwock, and Matilda W. Nicholas. "Store-and-Forward Images in Teledermatology: Narrative Literature Review." JMIR Dermatology 5, no. 3 (July 18, 2022): e37517. http://dx.doi.org/10.2196/37517.
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Background Store-and-forward (SAF) teledermatology uses electronically stored information, including patient photographs and demographic information, for clinical decision-making asynchronous to the patient encounter. The integration of SAF teledermatology into clinical practice has been increasing in recent years, especially during the COVID-19 pandemic. Despite this growth, data regarding the outcomes of SAF teledermatology are limited. A key distinction among current literature involves comparing the quality and utility of images obtained by patients and trained clinicians, as these metrics may vary by the clinical expertise of the photographer. Objective This narrative literature review aimed to characterize the outcomes of SAF teledermatology through the lens of patient- versus clinician-initiated photography and highlight important future directions for and challenges of the field. Methods A literature search of peer-reviewed research was performed between February and April 2021. Key search terms included patient-initiated, patient-submitted, clinician-initiated, clinician-submitted, store-and-forward, asynchronous, remote, image, photograph, and teledermatology. Only studies published after 2001 in English were included. In total, 47 studies were identified from the PubMed electronic database and Google Scholar after omitting duplicate articles. Results Image quality and diagnostic concordance are generally lower and more variable with patient-submitted images, which may impact their decision-making utility. SAF teledermatology can improve the efficiency of and access to care when photographs are taken by either clinicians or patients. The clinical outcomes of clinician-submitted images are comparable to those of in-person visits in the few studies that have investigated these outcomes. Coinciding with the onset of the COVID-19 pandemic, asynchronous teledermatology helped minimize unnecessary in-person visits in the outpatient setting, as many uncomplicated conditions could be adequately managed remotely via images captured by patients and referring clinicians. For the inpatient setting, SAF teledermatology minimized unnecessary contact during dermatology consultations, although current studies are limited by the heterogeneity of their outcomes. Conclusions In general, photographs taken by trained clinicians are higher quality and have better and more relevant diagnostic and clinical outcomes. SAF teledermatology helped clinicians avoid unnecessary physical contact with patients in the outpatient and inpatient settings during the COVID-19 pandemic. Asynchronous teledermatology will likely play a greater role in the future as SAF images become integrated into synchronous teledermatology workflows. However, the obstacles summarized in this review should be addressed before its widespread implementation into clinical practice.
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Amanzholova, Dina A. "About visual sources on the history of the Alash movement." BULLETIN of the L.N. Gumilyov Eurasian National University. Historical sciences. Philosophy. Religion Series 138, no. 1 (2022): 25–39. http://dx.doi.org/10.32523/2616-7255-2022-138-1-25-39.
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The author considers the array of photographs accumulated in recent decades as a valuable visual source for additional study of the history of the Alash movement. Visual images-messages have a good potential, since they contain denotative and connotative layers of communication. The interdisciplinary nature of such works, the increased interest of society in visualizing the history of Alash is noted. The use of photographs and other figurative evidence is considered as an addition and a means of a deeper understanding of the past only when included in the social, political, and cultural context. The necessity of using such a method of forming visible representations of the history based on fundamental theoretical approaches and methodological tools is also emphasized. The author draws attention to the use of visual artifacts, considering the information and developments of specialists in the history of technology, including photography, cinema, fine art in general. The main attention is paid to the complex of photographs collected in the illustrative publications of B. Mursalim. Based on the analysis of a complex of photographs, concentrated mainly in a few illustrative publications, approaches to classification, introduction to the historical context and interpretation of documentary photographs as a means of supplementing and illustrating in scientific research are proposed. The main results and shortcomings in the visualization of the history of Alash through photographs are highlighted.
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Flego, Clio. "Forensic Architecture: A New Photographic Language in a Factual Era." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 70–75. http://dx.doi.org/10.47659/m4.070.art.
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A group of visual activists, architects, software developers and archaeologists as well as a multicultural team composed of artists, investigative journalists and lawyers – an organic organization. Forensic Architecture ‘Investigative aesthetic’ is based on visual aggregation on data allowing viewers to enhance their perception-cognition of events by the integrated use of augmented photography. Their works have been presented in front of a court, but also exhibited at international shows all around the world. FA expanded use of photography, integrating in the urbanistic reconstruction of frames of any kind of multimedia information collected, consider it not simply as a medium, but as a proper tool for triggering critical reflections and political action. Forensic Architecture have mainly been investigating the area of conflicts with the aim to present counter- investigation on unclear circumstances, often underlining social constructs in the public forum. The particular role that FA plays, claiming social truth and assigning to photography the function to be a “civil act,” remarks its place in the history of war photography, and underlines the importance of also having a contra-culture in a post- industrial society, permeated by the presence of technology. Keywords: evidence, Forensic Architecture, forensic reconstruction of event, photography, truth-value
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Garwood, Deborah. "Paris Solstice: A visual art project touching on themes of history, society, astronomy, and technology." Culture and Cosmos 08, no. 0102 (October 2004): 67–72. http://dx.doi.org/10.46472/cc.01208.0215.
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‘Paris Solstice’ is a visual art project touching on themes of history, society, astronomy, and technology. Research and travel for two papers I undertook in 2000 and 2001 were the unintentional beginnings of ‘Paris Solstice’. This new series about images, in colour process, gelatine silver, and digital formats, merges two different sets of photographs: views over the rooftops of Paris and photographs of nineteenth-century scientific tables. My ongoing interest in aesthetic, documentary, and conceptual aspects of photography is reflected in ‘Paris Solstice’.
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Syarifuddin, Syarifuddin, Adhitya Rol Asmi, and Sani Safitri. "Development of Palembang Local Wisdom Photography Gallery." AL-ISHLAH: Jurnal Pendidikan 14, no. 2 (June 16, 2022): 2335–50. http://dx.doi.org/10.35445/alishlah.v14i2.1932.
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With the theme of web-based photography gallery, this study aims at collecting and centralising scattered data on local wisdom in Palembang and Surakarta. With both having long history in their existence, Palembang and Surakarta are home to many and various cultural heritage. This study tries to collect information about these and centralise them into a valid, practical and effective photography gallery that will help with students' learning. This is because in developing a medium like this, not only can it be a way of preserving cultural heritage, the end result of collected data and information can be a rich, interesting source of learning materials. All the steps taken in this study all lead to the main objective mentioned earlier, collecting and centralising historical photos of Palembang and Surakarta across a span of time periods in a way that is comprehensive and interesting, especially in terms of academics or education. This study uses the ADDIE Model for its research and development process. The data is collected through individual interviews (culture practitioners, historians, local residents of Palembang and Surakarta, etc.) as well as reviewing existing websites of the same category. The end product of this research has gone through expert validation in terms of materials, media and language, and is considered valid. After that the validated product underwent one-to-one and small group evaluation to assess its practicality, effectiveness and attractiveness.
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Fys, Mykhailo, Volodymyr Litynskyi, Anatolii Vivat, and Svyatoslav Litynskyi. "GEODESY, CARTOGRAPHY AND AERIAL PHOTOGRAPHY." GEODESY, CARTOGRAPHY AND AERIAL PHOTOGRAPHY 94, 2021, no. 94 (December 28, 2021): 20–28. http://dx.doi.org/10.23939/istcgcap2021.94.020.
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The aim. The study of formulas determination of the point coordinates by the inverse linear-angular intersection method. Previously, we investigated the possibility of using electronic total stations to control the geometric parameters of industrial buildings. The applied application of electronic total stations for high-precision measurements has been investigated as well. [Vivat, 2018]. The formula for optimal use of the device with certain accuracy characteristics relative to the measured basis is analytically proved and derived [Litynskyi, 2014]. Measurements on the basis of the II category are performed and theoretical calculations are confirmed. The possibility of achieving high accuracy in determining the segment by the method of linear-angular measurements is shown [Litynsky, 2015]. The influence of the angle value on the accuracy of determining the coordinates by the sine theorem is investigated and the possibility of optimizing the determination of coordinates by the method of inverse linear-angular serif by the formulas of cosines and sines is investigated [Litynskyi, 2019]. Method. Establishing a mathematical interconnection between measured values (distances and angles) with the required (flat coordinates of a point), differentiation and finding the minima of functions. Results.There were five formulas selected, of which six combinations had been created to calculate the increments of coordinates and to estimate their accuracy. Numerical experiments show that neither method has a significant advantage, which is supported by the results presented in the graphs and tables. It is worth noting one feature of the second method - in which it is possible to determine the increments of coordinates with an accuracy that exceeds the accuracy of measuring the sides. The possibility of optimizing the coordinate increments determination due to the choice of calculation formulas is considered. The possibility of increasing the accuracy of determination of the coordinates increments using different calculation formulas is researched. Consequently, it is suggested to optimize the choice of calculation formulas depending on the position of the desired point. The results of these studies can be used to create electronic total station or laser tracker application software in order to improve the accuracy of coordinate determination.
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Maksymova, Yuliia, and Oleksii Boiko. "GEODESY, CARTOGRAPHY, AND AERIAL PHOTOGRAPHY." GEODESY, CARTOGRAPHY, AND AERIAL PHOTOGRAPHY 93,2021, no. 93 (June 23, 2021): 59–71. http://dx.doi.org/10.23939/istcgcap2021.93.059.
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Purpose. The aim of the research is to develop fuzzy impact models of the natural and anthropogenic influence, which allows to integrate different physical factors, which makes it possible to bring them to a single environmental assessment system and comparison of different assessed areas. Methodology. The basis of the proposed modeling is a traditional approach on the development of such models, which includes conceptual, logical and physical modeling levels. The Unified Modeling Language (UML) is used for conceptual modeling level, which is recommended as the main modeling tool in the set of international standards in geographic information / geomatics and software that supports the interactive mode of UML diagrams creation Visio. The geospatial database and SQL-functions are implemented and the extension of the standard SQL-99 language with a new data type geometry and built-in functions which provides storage, processing and analysis of geospatial data in database management systems is used. The proposed models are realized in the environment of object-relational DBMS PostgreSQl / Postgis and geographic information system QGIS. Results. A review of the experience of using fuzzy logic to assess the state of the environment is done. Technological models for computation of indicators of administrative unit provision by social infrastructure objects, influence of greenery, industrial territories and transport on the environment are offered and realized. An example of approbation of the proposed approach based on OpenStreetMaps open data for the Popasnianskyi distinct of Luhansk region territory is given. Scientific novelty. Theoretical generalizations are made and practical results are received of resolving applied problem of the development of the fuzzy impact assessment model of various factors influence on the environment with use of GIS. Such assessment can be used at the stage of community spatial development strategies preparation to determine the most acceptable development version, as well as to unify the means of strategies implementation monitoring, organically linking local, national and global tasks. Practical significance. The application of the proposed approach of GRID modeling and fuzzy impact assessment use in assessing the quality of the environment allows to integrate different indicators, compare them, by bringing them into a single evaluation system.
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Loopmans, Maarten, Gillian Cowell, and Stijn Oosterlynck. "Photography, public pedagogy and the politics of place-making in post-industrial areas." Social & Cultural Geography 13, no. 7 (November 2012): 699–718. http://dx.doi.org/10.1080/14649365.2012.723734.
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Slyusar, Vadym, Mykhailo Protsenko, Anton Chernukha, Vasyl Melkin, Olena Petrova, Mikhail Kravtsov, Svitlana Velma, Nataliia Kosenko, Olga Sydorenko, and Maksym Sobol. "Improving a neural network model for semantic segmentation of images of monitored objects in aerial photographs." Eastern-European Journal of Enterprise Technologies 6, no. 2 (114) (December 29, 2021): 86–95. http://dx.doi.org/10.15587/1729-4061.2021.248390.
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This paper considers a model of the neural network for semantically segmenting the images of monitored objects on aerial photographs. Unmanned aerial vehicles monitor objects by analyzing (processing) aerial photographs and video streams. The results of aerial photography are processed by the operator in a manual mode; however, there are objective difficulties associated with the operator's handling a large number of aerial photographs, which is why it is advisable to automate this process. Analysis of the models showed that to perform the task of semantic segmentation of images of monitored objects on aerial photographs, the U-Net model (Germany), which is a convolutional neural network, is most suitable as a basic model. This model has been improved by using a wavelet layer and the optimal values of the model training parameters: speed (step) ‒ 0.001, the number of epochs ‒ 60, the optimization algorithm ‒ Adam. The training was conducted by a set of segmented images acquired from aerial photographs (with a resolution of 6,000×4,000 pixels) by the Image Labeler software in the mathematical programming environment MATLAB R2020b (USA). As a result, a new model for semantically segmenting the images of monitored objects on aerial photographs with the proposed name U-NetWavelet was built. The effectiveness of the improved model was investigated using an example of processing 80 aerial photographs. The accuracy, sensitivity, and segmentation error were selected as the main indicators of the model's efficiency. The use of a modified wavelet layer has made it possible to adapt the size of an aerial photograph to the parameters of the input layer of the neural network, to improve the efficiency of image segmentation in aerial photographs; the application of a convolutional neural network has allowed this process to be automatic.
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Lund, Curt. "Dancing in the Darkroom." Afterimage 48, no. 4 (December 1, 2021): 3–23. http://dx.doi.org/10.1525/aft.2021.48.4.3.
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Russian émigré Alexey Brodovitch, best known for leading a radical shift in magazine design in the United States during his twenty-four-year tenure (1934–58) as art director of Harper’s Bazaar, also pursued innovative practices in other fields of art, design, and education. His ballet photography, made during rehearsals and performances of touring dance companies in New York City from 1935 to 1938, explored unusual methods of capturing dancers in motion. Brodovitch’s images would eventually come to be celebrated for their unconventional approach, but at the time, Brodovitch was not sure of his direction. Recent archival discoveries suggest that Brodovitch reframed this graphic “problem” into curriculum for his classes at the Pennsylvania Museum School of Industrial Art, inspiring students to delve into a number of experimental photographic techniques and pioneering the teaching of such practices in American classrooms.
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Dickson, C. "Creative Photography for Textile Designers." Journal of the Textile Institute 80, no. 3 (January 1989): 351–75. http://dx.doi.org/10.1080/00405008908658292.
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Peterson, Larry. "Producing Visual Traditions Among Workers: The Uses of Photography at Pullman." International Labor and Working-Class History 42 (1992): 40–69. http://dx.doi.org/10.1017/s0147547900011224.
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From 1880 to 1980 the Pullman Company repeatedly turned to photography to shape the attitudes and behavior of its workers. It built the Pullman Car Works and adjoining town on the fringes of Chicago as a model industrial community with the goal of resolving the endemic conflict between capital and labor. However, despite its claim that the model town was intended as purely “practical” philanthropy—that is, that sanitary and beautiful conditions would increase profits by improving workers' performance and preventing strikes—Pullman could not achieve its goal without also creating affective bonds with workers.
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Giżycki, Marcin. "Construction – Reproduction: Graphics, Photography and Film in Polish Constructivism." Kwartalnik Filmowy, Special Issue (December 31, 2013): 203–16. http://dx.doi.org/10.36744/kf.1902.
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Giżycki deals with the problem of an interest in photography and film, shown by Polish avant-garde artists from its beginnings. According to Giżycki, photomontage, film, prints made of typographic elements, and first of all film collage were the means that were perfectly suitable for the realisation of Constructivist ideas. One of the basic aims of Constructivism – to turn towards new materials – could be put in practice through the use of finished and prefabricated elements. Giżycki traces the way in which the artworks were evolving from the „literary quality” of the early photomontages of Mieczysław Szczuka, Teresa Żarnower’s abstract and geometric compositions, Stefan and Franciszka Themerson’s films, inspired by Constructivism Pharmacy (1930) and Europa (1932) and Jalu Kurek’s (Rhytmic Calculations, 1932) into typically collage-montage films of Janusz Maria Brzeski (Sections, 1931; Concrete, 1933) or his anti-Utopian and anti-industrial series of photomontages Birth of a Robot (1934). Giżycki also points out that after a period of Utopian projects by artists relishing a regained freedom, the Constructivists expressed through art their, mostly left-wing, political beliefs. [originally published in Polish in Kwartalnik Filmowy 2006, no. 54-55, pp. 31-44]
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Nocerino, E., F. Menna, F. Fassi, and F. Remondino. "UNDERWATER CALIBRATION OF DOME PORT PRESSURE HOUSINGS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-3/W4 (March 17, 2016): 127–34. http://dx.doi.org/10.5194/isprsarchives-xl-3-w4-127-2016.
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Underwater photogrammetry using consumer grade photographic equipment can be feasible for different applications, e.g. archaeology, biology, industrial inspections, etc. The use of a camera underwater can be very different from its terrestrial use due to the optical phenomena involved. The presence of the water and camera pressure housing in front of the camera act as additional optical elements. Spherical dome ports are difficult to manufacture and consequently expensive but at the same time they are the most useful for underwater photogrammetry as they keep the main geometric characteristics of the lens unchanged. Nevertheless, the manufacturing and alignment of dome port pressure housing components can be the source of unexpected changes of radial and decentring distortion, source of systematic errors that can influence the final 3D measurements. The paper provides a brief introduction of underwater optical phenomena involved in underwater photography, then presents the main differences between flat and dome ports to finally discuss the effect of manufacturing on 3D measurements in two case studies.