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Relevant bibliographies by topics / Photography of the nude

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Academic literature on the topic 'Photography of the nude'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Photography of the nude"

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Cole, Emily. "Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955." Mutual Images Journal, no. 8 (June 20, 2020): 21–46. http://dx.doi.org/10.32926/2020.8.col.photo.

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This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consistent exchange between western and Japanese photographers through multiple platforms: interviews and round table discussions of photographic trends; articles on and photo series by western photographers; and images by both western and Japanese photographers depicting western cultural material and landscapes, such as photographs of western-style fashions, domestic space, and daily life in European and American cities. Such encounters directly influenced photographic trends in Japan. Features on European nude photographers popularised nude photography as an art form among Japanese photographers, and works contributed by the likes of Henri Cartier-Bresson, Robert Capa, and Robert Doisneau contributed to a rising interest in photographic humanism. Further, these encounters provided a conduit through which photographers and readers encountered western cultural material at a time when Japan underwent a cultural identity crisis brought on by the devastation of defeat and foreign Occupation. In this way, photography magazines simultaneously functioned as spaces that negotiated what exactly “Japanese culture” meant in Japan’s new postwar world.

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Rexer, Raisa. "Nana in the Nude: Zola and Early Nude Photography." Dix-Neuf 22, no. 1-2 (April 3, 2018): 73–97. http://dx.doi.org/10.1080/14787318.2018.1487172.

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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.

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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.

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Mirabelli, Eugene. "Looking and Not Looking: Pornographic and Nude Photography." Grand Street 5, no. 1 (1985): 197. http://dx.doi.org/10.2307/25006825.

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Müller, Helge, Frauke Knossalla, Lorenz Breuer, Johannes Kornhuber, and Lars Marquardt. "Nude Photography: Abuse, Obsession, Delusion, and Finally Depression." American Journal of Medicine 125, no. 8 (August 2012): e3. http://dx.doi.org/10.1016/j.amjmed.2012.01.031.

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McLellan, J. "Visual Dangers and Delights: Nude Photography in East Germany." Past & Present 205, no. 1 (November 1, 2009): 143–74. http://dx.doi.org/10.1093/pastj/gtp040.

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Rexer, Raisa. "Baudelaire’s bodies, or redressing the wrongs of nude photography." Word & Image 35, no. 2 (April 3, 2019): 126–40. http://dx.doi.org/10.1080/02666286.2018.1549428.

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Dobrowolska, Anna. "“Why Don't They Display Male Nudes?”." Aspasia 17, no. 1 (June 1, 2023): 164–82. http://dx.doi.org/10.3167/asp.2023.170109.

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Abstract In the West, the 1970s were the decade of rapid sexual liberalization. Similarly, in state-socialist Poland new approaches toward sex and nudity also gained momentum. Female nudes started being printed in the popular press and displayed in gallery rooms. Simultaneously, early feminist artists such as Natalia LL, Teresa Murak, and Ewa Partum experimented with nudity to question gendered discourses and social norms. This article compares popular nude photography exhibitions with the works of women artists to analyze two approaches toward female nudity that developed in 1970s Poland. Thus, it showcases the ambiguities surrounding the project of socialist sexual modernity and highlights conflicting visions of femininity and liberation.

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Charrier, Philip. "Nojima Yasuzō's primitivist eye: ‘Nude’ and ‘Natural’ in early Japanese art photography." Japanese Studies 26, no. 1 (May 2006): 47–68. http://dx.doi.org/10.1080/10371390600636208.

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Brooke, Stephen. "War and the Nude: The Photography of Bill Brandt in the 1940s." Journal of British Studies 45, no. 1 (January 2006): 118–38. http://dx.doi.org/10.1086/497058.

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Dissertations / Theses on the topic "Photography of the nude"

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Minks, Marlin. "Strips /." Online version of thesis, 1985. http://hdl.handle.net/1850/10111.

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Radić, Xavier. "Queer reflections on Baron Wilhelm von Gloeden a creative reconsideration of pose, gaze and technique : this exegesis [thesis] is submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design in the year 2004 /." Full thesis. Abstract, 2004.

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Murphy, Alexandra Christina. "An exploration into the photo-transformation of the human form, through a research of its contemporary influential imagery and diversity within our culture." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002212.

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The purpose of this study is to look at how the figure is imaged through the photographic medium today. Through this purpose I aim to explore the individual expression of the photographer in his photographic medium; the expression of the figure within the medium and the diverse practises of this medium in society - to build up an awareness and understanding of the diverse representations of the human form. The general aims of study are: 1 - to study how these three photographers choose to photograph the figure, through their technical, compositional and individual approach. 2 - to show how diverse the usage of the photographic figure is in the visual world. 3 - to expose an awareness of the photographic figure as transformation of an expression of self. 4 - to show the relationship between the photographer and the figure, the camera and the photographer, the camera and the figure, and the photographic figure and the viewer. 5 - to study my own photographic imagery in relation to the other imagery discussed. My research information was collected through: observations, discussions, literature and practical exploration. This study will attempt to draw conclusions, from its explorations, that will highlight the importance of the individual eye: that it is the individual eye that becomes the vehicle of transformation.

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Camargo, Lucio Martins de 1968. "O nu e o olhar : uma iconologia do nu feminino na fotografia brasileira." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284320.

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Orientador: Stephane Remy Georges Malysse
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-10T03:44:41Z (GMT). No. of bitstreams: 1 Camargo_LucioMartinsde_M.pdf: 2990532 bytes, checksum: 5d566a1de07ede0c47d4df38267485ae (MD5) Previous issue date: 2006
Resumo: O objeto da pesquisa é constituído de vinte e quatro fotografias selecionadas dentro da produção fotográfica de nus femininos no Brasil, a partir do estabelecimento de alguns critérios, tais como a nacionalidade de fotógrafos e modelos, o suporte de publicação e o grau de nudez, entre outros, com o objetivo de criar uma gramática dos signos presentes nessas imagens. Num primeiro momento, foi possível identificar alguns modos recorrentes de apresentação dessas imagens: o "nu editorial" e o "nu artístico", que são os principais modelos temáticos dos fotógrafos brasileiros e um terceiro modo, muito menos expressivo em termos numéricos, mas que apresenta imagens mais densas em termos de conteúdo e questionamento de padrões pré-estabelecidos que é o modo do ?nu como expressão?. As fotografias foram separadas em grupos menores, para atender a projetos analíticos diferenciados, conforme cada capítulo, e foi feita a opção metodológica de análise imanente das mesmas. Ao final é proposta uma forma de classificação da produção de fotografias de nus conforme o conteúdo e sua abordagem, como alternativa para a percepção aparentemente exclusiva de conteúdo erótico e abordagem comercial
Abstract: The object of the research is constituted of twenty-four photographs selected among the photographic output of female nudes in Brazil, from the establishment of some criteria, such as the nationality of photographers and models, the support of publication and the rank of bareness, between others, with the objective of creating a grammar of the present signs in those images. In a first moment, was possible to identify some recurring ways of presentation of those images: the "editorial nude" and the "artistic nude", that are the main thematic models of the Brazilian photographers and a third way, a lot less expressive in quantity, but which presents denser images considering content and questioning of pre-established standards which is "nude as expression". The photographs were separated in smaller groups, to attend an analytic differentiated project, according to each chapter, and the methodological option made was of immanent analysis. To sum up, the purpose was to classify photographs of nudes output according to the content and approach, as an alternative to the apparently exclusive perception of erotic content and commercial approach
Mestrado
Mestre em Multimeios

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Lager, Sarah Alexandra. "Le nu métamorphosé." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010637.

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La métamorphose envisagée comme principe révélateur du nu laisse apparaître la réalité ambiguë de son existence plastique, la situant dans un entre-deux permanent oscillant entre accès et détournement, monstration et effacement. Corps photographique ou pictural, il devient signe d’une trace, d’une sensation par son incorporation au sein de livres photographiques. Ces recueils intimistes, dévoilant les identités multiples du corps féminin, proposent une intensification du désir par la mise en suspens d’une étreinte métaphorique. Lié à des récits mythologiques, poétiques et artistiques, le nu métamorphosé offre une entrée particulière où la mise en doute de son aspect présente sa suspension dans une immensité le dépassant. Etendu, morcelé, établit dans toute sa fragilité, il compose tout autant de paysages à arpenter qu’à contempler, où le toucher répond à l’excitation visuelle. L’infime apparence du corps sous-tend la peau, transperce le regard en se déployant dans un érotisme éblouissant. Par l’inscription de cette surface-peau, le nu métamorphosé est cette forme en dissolution qui survient dans un éclatement du corps et propose une véritable géographie épidermique, qui s’articule entre révélation de l’intimité de l’être et pluralité des sensations
Transformation considered as a revealing principle of the nude shows the ambiguous reality of its plastic existence, putting it an everlasting in-between place that wavers between access and diversion, showing and fading. Photographic or pictorial body, it becomes the sign of an impression, a feeling by its incorporation into photography books. These intimist collections, revealing the numerous identities of the feminine body, offer an intensification of the desire by having a figurative embrace to await. Being linked to mythological, poetical or artistic tales, the transformed nude presents a peculiar entry where questioning its aspect displays its suspension in a vastness that goes beyond it. Stetched, broken up, fully settled in its frailty, it forms landscapes to be stridden across just as well as gazed upon, where the sense of touch responds to the visual excitement. The minimal appearance of the body underlines the skin, enhances its grain, enshrouds it and gives life to the unspeakable. Burning, biting, the picture and especially one of the skin, pierces through the glance by unfolding in a dazzling eroticism. By the inscription on this skin-surface, the transformed nude is this form in dissolution which occurs thanks to the breaking of the body and which presents a real epidermal geography that is made of a mix between the disclosure of the intimacy of the self and the multitude of feelings

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Blin, Sandy. "La série des Distorsions de 1933 : Une parenthèse dans l’œuvre d’André Kertész ?" Thesis, Saint-Etienne, 2012. http://www.theses.fr/2012STET2160.

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Moins connues que Chez Mondrian, ou d’autres tirages devenus célèbres, les Distorsions de 1933 peuvent apparaître comme une série d’importance mineure dans l’œuvre d’André Kertész. La série de photographies qui la composent, vaste par le nombre, donne à voir des déclinaisons de nu qui n’ont plus rien d’académique, dans le traitement qu’en donne le photographe. Les corps, déformés grâce à un miroir courbe, surprennent de par leur modernité et leur caractère d’étrangeté, au regard du reste de la production de l’auteur. Constitue-t-elle pour autant une « parenthèse » dans son œuvre ? Il convient pour y répondre de s’interroger sur le contexte d’apparition de ces photographies et les raisons de leur création. Pour ce faire, une évaluation des composantes plastiques de chacune des images s’avère incontournable, avant que d’établir des liens et correspondances avec d’autres œuvres du photographe. L’angle choisi, qui favorise le rapport direct aux images en les plaçant au centre de la recherche, s’intéresse à la mise en œuvre des Distorsions à l’aune de la commande qui en suscita l’objectivation, tout en dévoilant comment ce cadre spécifique fut outrepassé. Le dispositif complexe employé pour la prise de vue est alors questionné, dans l’intention de mesurer l’importance et le rôle du miroir dans le dévoiement de l’image. A ce moment sont abordées, par le biais d’analyses à la fois formelles et esthétiques, les diverses typologies de corps, et leur rapport à l’espace dans l’image. Ce qui aboutit enfin à une vision d’ensemble, permettant de replacer ce corpus dans l’œuvre entier de Kertész, et de dégager les parentés intentionnelles dans sa logique de création
Less known than Chez Mondrian, or other famous prints, the Distortions of 1933 may appear as a series of minor importance in André Kertész’ work. The series of photographs, wide ranging in numbers, lets us see versions of nude, whose have nothing to do with academic, in the handling given by the photographer. Bodies, distorted by a curved mirror, surprising in their modernity and their strangeness, compared with the rest of the author production. Does it make up a "parenthesis" in his work? To respond to this question, we should wonder about the developing context of these photographs and also the reasons of their creation. An evaluation of visual aspects of each image is necessary, before establishing links and connections with other works made by the photographer. The angle chosen, which favors the direct images by placing them in the center of research focuses on the implementation of Distortions in the light of the order in which aroused objectification, while revealing how this specific framework was exceeded. The complex device used for the shooting is asked then, with the intention of measuring the importance and role of the mirror in the image’s corruption. At this time are addressed through analysis of both formal and aesthetic, the various types of bodies, and their relationship to space in the image. This leads finally to a vision, to put this body in the whole work of Kertész, and to identify the intentional similarities in his creation logic

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Di, Certo Alice. "The Unconventional Photographic Self-Portraits of John Coplans, Carla Williams, and Laura Aguilar." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/4.

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Laura Aguilar, John Coplans, and Carla Williams explore, through photographic self-portraiture, the representation of unconventional bodies. Even though the images produced by these artists are quite different in style, they all reflect an interest in a representation of the nude human body that challenges the traditional concepts of beauty so prevalent in a Western society obsessed with physical perfection. Even though the three artists produced their photographic self-portraits at roughly the same time, using the traditional gelatin silver process and responding to standards of classical beauty, their divergent life experiences, education, and social backgrounds have led them to question an almost universal vision of the perfect body from a broad spectrum of perspectives.

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Saggese, Antonio José. "Imaginando a mulher: Pin-up, da chérette à playmate." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-29012009-150456/.

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Análise da produção da imagem da mulher enquanto mercadoria na era moderna. O imaginário erótico na sociedade de consumo, na mídia gráfica do Século XIX ao Século XX. A imagem técnica e suas relações com a pintura acadêmica na representação da figura feminina e do nu, pela fotografia, cinema, ilustração e cartum. A pin-up sua origem e suas variações.
Analysis of the production of the female image as a commodity in modern age. The erotic imagery in the consumer society, in the graphic media from XIX to XX century. The technical image and its relation with the academic painting in the representation of the womens figure and the nude in the photography, cinema, illustration and cartoon. The pin-up, its origins and variations.

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Chassin, de Kergommeaux C. Danielle. "Autofictional practices : self-fashioning in Diana Thorneycroft's self-portraits." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82695.

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This thesis explores autobiographical practices and their relationship to autofiction, by focusing on practices of identity construction and artistic performance, as well as identity construction through performance. Emphasis is given to the ways gender and sexuality enter into, and shape, these practices by examining, in particular, the way they are expressed in Diana Thorneycroft's photographic performances. Chapter 1 discusses the history and key debates in autobiography theory, the ways gender has been introduced into the analysis of autobiography, and non-literary forms of autobiography. Chapter 1 also briefly discusses the (Western) history of art by women. Chapter 2 examines Thorneycroft's oeuvre and selected responses to it. Chapter 3 presents an analysis of autofictional practices through an examination of Thorneycroft's photographic self-portraits, thereby questioning the distinctions between autobiography and autofiction and suggesting that there is considerable overlap in their definition. The Conclusion briefly discusses agency in relation to autofictional (self-making) practices.

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Schanding, Desireé Rose. "The ephemeral form and objects of inspection /." Online version of thesis, 2008. http://hdl.handle.net/1850/10828.

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Books on the topic "Photography of the nude"

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Baetens, Pascal. Nude Photography. London: Dorling Kindersley Limited, 2008.

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Sheila, Hurth, ed. Glamour nude photography. Buffalo, NY: Amhurst Media, 1997.

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Hurth, Robert. Glamour nude photography. Buffalo, NY: Amherst Media, 1999.

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Trampe, Stan. Black & white nude photography. Buffalo, N.Y: Amherst Media, 1998.

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Richards, Ruth. Nude photography, pornography or art?. London: LCP, 2000.

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Pinkard, Bruce. The nude: Complete photography course. Rochester, NY: Silver Pixel Press, 1999.

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Hisaka, Kojima, ed. San Francisco nude. Tokyo: Seibundo Shinkosha, 1995.

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Lewinski, Jorge. The naked and the nude: A history of nude photography. London: Book Club Associates, 1987.

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Gowland, Peter. Classic nude photography: Techniques and images. Buffalo, NY: Amherst Media, 2001.

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Birgus, Vladimír. Akt v české fotografii =: The nude in Czech photography. Prague: Kant, 2001.

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Book chapters on the topic "Photography of the nude"

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Lee, Heunjung. "Dancing Relational Bodyhood." In Edition Kulturwissenschaft, 97–124. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839462836-008.

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In contrast to the idea of disability-free aging as 'positive' and 'successful' aging, ill, impaired, older persons who are 'dependent' (physically, socially, economically) are often devalued and stigmatized in ageist and ableist societies. Tracing the extraordinary life course and artistic practices of Tuuli Helkky Helle (1933-2018), an older Finnish dancer who lived with cerebral palsy, this paper highlights how she reclaimed 'dependency' as a positive term and visualized the beauty and power of the interconnected, interrelated, and caring relationships in her arts and life. From her 60s until her 80s, as an artist and activist, she participated in various dance pieces, radical nude photography series, and activist performances for older adults with disabilities. This article is the first academic article that documents her remarkable works and examines her dancing body. Drawing on the theoretical perspective of Ann Cooper Bright (2017; 2019) about gravity, interconnectedness, and disabled and aged bodies and Pia Kontos's notion of "relational citizenship" (2017), this paper illuminates the alternative danceability of the aged-disabled body.

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Chare, Nicholas, and Ersy Contogouris. "On the Nude." In On the Nude, 1–20. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003049968-1.

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Bienvenue, Valérie, and Nicholas Chare. "The Animal Nude." In On the Nude, 155–72. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003049968-15.

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Erkkila, Betsy. "Introduction: Breaking Bounds." In Breaking Bounds, 1–20. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195093490.003.0001.

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Abstract One of the most controversial dimensions of this volume is certain to be the picture on the cover, a nude photograph of an old man taken by Thomas Eakins that bears a striking resemblance to Walt Whitman. Discovered by Ed Folsom in an exhibition catalog of previously unpublished photographs by Eakins (Photographer Thomas Eakins 33), the picture is part of a sequence of seven nude photographs, taken sometime in the 1880s, showing frontal, side, and posterior shots (Fig. I.I). Although we are unaccustomed to seeing our major American writers in the flesh, given Whitman’s words at the outset of the long opening poem of the 1855 edition of Leaves of Grass-”! will go to the bank by the wood and become undisguised and naked” (LG 1855: 25)-and the interest that Whitman and Eakins shared over many years in the glories of the undraped body, the existence of a nude photograph of Whitman taken by Eakins should come as no surprise. Indeed, rumors of the existence of such a photograph or painting have circulated for many years. Taken sometime after Herbert Gilchrist made sketches of Whitman sunbathing in the nude at Timber Creek in 1878 (Fig. 1.2) and sometime before Eakins began painting his well-known “Rabelaisian” portrait of Whitman in 1887 (Fig. 10.8), the “old man” appears to be part of “the naked series,” a series of photographic studies of male and female nude bodies that Eakins made at the Pennsylvania Academy of Fine Arts between 1882 and 1886.

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Wilson, Emma. "Agnès Varda." In The Reclining Nude, 39–102. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620245.003.0003.

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Agnès Varda studied art history and photography, and the influence of the visual arts in her filmmaking has long been remarked. This discussion is the first to close in on the figure of the reclining nude which appears in her work in the form of tableaux vivants from the early film, L’Opéra Mouffe, and returns extensively in her portrait film Jane B. par Agnès V. In this film, together with cinematographer Nurith Aviv, Varda creates an cinematic reclining nude in a very slow, sensual pan across the prone naked body of Jane Birkin, from her feet to her smiling face. Here, and in another film from the 1980s, Documenteur, Varda explores reclining figures as part of her filmic experiments with emotion and rêverie, the reclining figure drawing and expressing feelings of erotic pleasure, repose, delay, melancholy, and depression. Her interest in still visual precedents in her work coalesces with her career-long feminist attention to states of female feeling and being.

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"4. Braquehais and the Photographic Nude." In Industrial Madness: Commercial Photography in Paris, 1848–1871. Yale University Press, 1994. http://dx.doi.org/10.37862/aaeportal.00182.010.

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Wilson, Emma. "Nan Goldin." In The Reclining Nude, 141–98. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620245.003.0005.

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Focusing on two projects first mounted in Paris, an installation about Goldin’s sister Barbara, Sisters, Saints and Sibyls and a projection and grid pictures inspired by images in the Louvre Museum, Scopophilia, this chapter looks at the melancholy and sensuality of the European phase of Goldin’s work. It looks in particular at her attention to women (cisgender and occasionally trans). She moves from images of prostration, lying down to die on railway tracks, being struck down by piercing grief, being tied down in a hospital bed, to images of radiant beauty, exposure, and female eroticism. Through the expansive range of feelings conjured by her photographs, Goldin vindicates female pleasure in looking, and further explores the contestatory power in images of indolence, languishing, and inactivity. The chapter engages closely with Goldin’s statements about her art. It offers, like the book as a whole, an exultant apprehension of new engagements with intimacy and eroticism, and new visions of a feminist, resistant passivity.

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Heller-Nicholas, Alexandra, and Anne Marsh. "BILL HENSON AND THE POLEMICS OF THE NUDE CHILD IN PHOTOGRAPHY." In The Culture of Photography in Public Space, 82–99. Intellect Books, 2015. http://dx.doi.org/10.2307/j.ctv36xvmvj.10.

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BENJAMIN, L. "Undressing Fine ArtApproaches to the Fine Art Nude in Photography." In The Naked and the Lens, 16–35. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81159-8.00007-8.

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Cui, Shuqin. "The Pregnant Nude and Photographic Representation." In Gendered Bodies, 49–66. University of Hawai'i Press, 2015. http://dx.doi.org/10.21313/hawaii/9780824840037.003.0004.

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Conference papers on the topic "Photography of the nude"

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Labong, JAM. "ON THE FEMALE NUDE, SEXUAL BODILY SERVICES, AND WOMEN’S OBJECTIFICATION: A CASE STUDY ON ARAKI’S SEXUALLY EXPLICIT PHOTOGRAPHS." In World Conference on Women’s Studies. The International Institute of Knowledge Management, 2022. http://dx.doi.org/10.17501/24246743.2022.7101.

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Knowlton, Ken. "Nude (studying in perception), 1996." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281647.

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Chi-Yoon Jeong, Jong-Sung Kim, and Ki-Sang Hong. "Appearance-based nude image detection." In Proceedings of the 17th International Conference on Pattern Recognition, 2004. ICPR 2004. IEEE, 2004. http://dx.doi.org/10.1109/icpr.2004.1333803.

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Xin-Lu, Wang, Li Xiao-juan, and Liu Xiao-bo. "Nude Image Detection Based on SVM." In 2009 International Conference on Computational Intelligence and Natural Computing (CINC). IEEE, 2009. http://dx.doi.org/10.1109/cinc.2009.148.

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Belem, R. J. S., J. M. B. Cavalcanti, E. S. de Moura, and M. A. Nascimento. "SNIF: a simple nude image finder." In Proceedings. Third Latin American Web Congress (LA-WEB 2005). IEEE, 2005. http://dx.doi.org/10.1109/laweb.2005.32.

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Lieberman, Larry A. "Another look at the reclining nude." In Display Holography: Fifth International Symposium, edited by Tung H. Jeong. SPIE, 1995. http://dx.doi.org/10.1117/12.201902.

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Srisa-an, Chetneti. "Nude image classification using rough set analysis." In 2015 12th International Conference on Electrical Engineering/Electronics, Computer, Telecommunications and Information Technology (ECTI-CON). IEEE, 2015. http://dx.doi.org/10.1109/ecticon.2015.7206926.

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Debevec, Paul, Ramesh Raskar, and Jack Tumblin. "Computational photography." In ACM SIGGRAPH 2008 classes. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1401132.1401162.

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Georgiev, Todor, and Andrew Lumsdaine. "Lightfield photography." In ACM SIGGRAPH ASIA 2010 Courses. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1900520.1900527.

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Raskar, Ramesh. "Computational Photography." In Imaging Systems. Washington, D.C.: OSA, 2010. http://dx.doi.org/10.1364/is.2010.iwb2.

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Reports on the topic "Photography of the nude"

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Sutton, Kevin Matthew, Sandra M. Valdez, and Brent Scott Budden. Space and Endo-Atmospheric NuDet Surveillance Experimentation and Risk-Reduction (SENSER) Official Photographs. Office of Scientific and Technical Information (OSTI), March 2019. http://dx.doi.org/10.2172/1504636.

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

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van der Haar, S., J. P. M. van de Sande, A. D. Wels-de Lint, G. G. Zeinstra, and J. C. M. A. Snels. Duurzaam Voedsel verbindt De Nude : gezond en duurzaam voedselaanbod ‘de Nudehof’. Wageningen: Wageningen Food & Biobased Research (WFBR), 2021. http://dx.doi.org/10.18174/555985.

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

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

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Editors, Intersections. On Religion: Photography in Collaboration. Intersections, Social Science Research Council, April 2024. http://dx.doi.org/10.35650/int.4061.d.2024.

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This article showcases photographic essays produced by collaborations between visual artists, journalists, and religious scholars through a partnership between New York University and the Magnum Foundation.

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

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Buell, Krista. Aphrodite of Knidos, Trendsetter: Depictions of the Female Nude and Sexuality in Ancient Greek Sculpture. Portland State University Library, January 2016. http://dx.doi.org/10.15760/honors.265.

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

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

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