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Relevant bibliographies by topics / Photography Photography Color photography

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Academic literature on the topic 'Photography Photography Color photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Photography Photography Color photography"

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Feldmann, Rodney M. "Photographic procedures." Paleontological Society Special Publications 4 (1989): 336–41. http://dx.doi.org/10.1017/s2475262200005311.

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Preparation of appropriate photographs is absolutely essential in conveying paleontological information. The effort expended in adequate cleaning and preparation of specimens is not only reflected in exposing the detail of material so that it can be properly described but also in permitting the morphologic information to be transmitted to others through photography. Therefore the purpose of this chapter is to describe the general procedures involved in preparing high quality, publishable photographs because special techniques related to photography of microfossils will be treated elsewhere, the emphasis within this chapter will be upon photography of macrofossils, specimens large enough to be photographed using a normal spectrum of photographic lenses and extension tubes. Because nearly all paleontological material is illustrated as black and white photographs, no reference will be made to the preparation of color illustrations.

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Zuhdan Aziz. "Dramatization of Visual Communication Messages In Macro Photographic Genre." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 3 (April 7, 2020): 154–73. http://dx.doi.org/10.33153/iicacs.v3i1.30.

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Photographic art is a mediator to convey visual communication messages to the public about a thing or event. Photos can be interpreted as expressions or ways of speaking, telling through visual language. The selection of the exact object, accuracy of the exact moment, accurate angle, advanced exposure of the light, and the beautiful color composition make photography look attractive, thus making the audience of photography immersed in the role created by the photographer using photographical object. Photographic works published on web-page macroworldmania.com are mostly, macro photography works, exploring macro world surround human life. Macro photo objects could reflect on to photographs of small animals, insects, plants or other small objects, which at first were not visible to the naked eyes. Not just technical, in the macro photography work that is displayed on the webpage, but those photographs also contained innovative messages with narrative stories and sparks of the dramatization that are conveyed, so that they appear more attractive. The demonstration of messages or narratives in this story becomes the essence of visual communication in macro photography. The dramatization displayed in the macro photography works on this page is able to provide an image of an animal or plant object or a small object, not only becoming bigger and easier to see, but also full of surprises, attracting attention and arousing curiosity. Dramatization arises if the object image has a point of interest (POI) and attention is always maintained so that the work created is able to drown the soul, emotions and thoughts of the audience. Dramatic elements built with the innovations of macro photography story messages are able to seize the attention and bring an atmosphere of high-quality communication in reference to the knowledge and experience of the audience. The challenges of these innovations are the main study of this research, so that the art of macro photography can still exist to communicate in the digital era marked by abundance of information (disruptive information).

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N Hegde, Mithra, and Urvashi B Sodvadiya. "Photography in dentistry: A perspective." Journal of Otolaryngology-ENT Research 12, no. 5 (2020): 161–65. http://dx.doi.org/10.15406/joentr.2020.12.00476.

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Photography is an “informative tool” to evaluate the diagnosis, make the proper treatment plan, document cases, communicate with the dental technician and other specialties for a multidisciplinary approach. These all can be achieved by only a good photograph with illumination, sharpness, and proper color contrast. This article emphasizes on photography and technical aspects which are required to understand photography in the field of dentistry. By using accessories like photographic mirror, contrastors and retractors, we can record the details of a targeted area. The advances in techniques of photography gives good results provided one understands the complexity of the camera-system.

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Pierce, Kathleen. "Photograph as Skin, Skin as Wax: Indexicality and the Visualisation of Syphilis in Fin-de-Siècle France The William Bynum Prize Essay." Medical History 64, no. 1 (2019): 116–41. http://dx.doi.org/10.1017/mdh.2019.79.

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In early twentieth-century France, syphilis and its controversial status as a hereditary disease reigned as a chief concern for physicians and public health officials. As syphilis primarily presented visually on the surface of the skin, its study fell within the realms of both dermatologists and venereologists, who relied heavily on visual evidence in their detection, diagnosis, and treatment of the disease. Thus, in educational textbooks, atlases, and medical models, accurately reproducing the visible signposts of syphilis – the colour, texture, and patterns of primary chancres or secondary rashes – was of preeminent importance. Photography, with its potential claims to mechanical objectivity, would seem to provide the logical tool for such representations.Yet photography’s relationship to syphilographie warrants further unpacking. Despite the rise of a desire for mechanical objectivity charted in the late nineteenth century, artist-produced, three-dimensional, wax-cast moulages coexisted with photographs as significant educational tools for dermatologists; at times, these models were further mediated through photographic reproduction in texts. Additionally, the rise of phototherapy complicated this relationship by fostering the clinical equation of the light-sensitive photographic plate with the patient’s skin, which became the photographic record of disease and successful treatment. This paper explores these complexities to delineate a more nuanced understanding of objectivity vis-à-vis photography and syphilis. Rather than a desire to produce an unbiased image, fin-de-siècle dermatologists marshalled the photographic to exploit the verbal and visual rhetoric of objectivity, authority, and persuasion inextricably linked to culturally constructed understandings of the photograph. This rhetoric was often couched in the Peircean concept of indexicality, which physicians formulated through the language of witness, testimony, and direct connection.

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Gunawan, Agnes Paulina. "Peranan Warna dalam Karya Fotografi." Humaniora 3, no. 2 (2012): 540. http://dx.doi.org/10.21512/humaniora.v3i2.3397.

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In the photographic development, the existence of color as part of the supporting aspect in the art of photography, is definitely influencing the final work of a photographer - whether it is a theory of color as lighting, or color as part of a pigment or chemical compound as part of physique from an object. Choosing a photo object based on colors can also create a meaning or theme in a composition of picture. This is the same when photo shoot is done with lighting that contends specific character or qualities of colors. For example, the use of color gel on the lights can create a condition that will be different when pictures are taken with white lights. Colors in photography can also give an expression or show an emotion visually that the photographer is trying to convey. With that said, a photographer who understands color concept can fix or anticipate any unwanted condition using a filter, for example, when lighting is contaminated with colors which changes the effect from the original color of an object. Therefore, with a thorough knowledge about colors, one can maximize the work just by making use of the available color aspect as part of the art work.

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Brokos, Ioannis, Minos Stavridakis, Panos Lagouvardos, and Ivo Krejci. "Fluorescence intensities of composite resins on photo images." Odontology 109, no. 3 (2021): 615–24. http://dx.doi.org/10.1007/s10266-020-00583-z.

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AbstractRecording fluorescence using flash photography, may help reduce time of capture and apply effectively in clinical practice. To test methods for visualizing composite resins fluorescence by direct digital photography. Sixty-four specimen discs (1.5 × 10 mm) were prepared from 8 different composite resin brands. Their CIELAB color coordinates (L*, a*, b*) and fluorescence were measured using a portable colorimeter and a fluorescence spectrophotometer. The mean of three measurements was recorded and then specimens were photographed by a DSLR camera with two different filters (365 nm and 405 nm) mounted on a commercial macro flash. RGB values of all specimens on the photographs were measured by using Photoshop software and converted to CIELab. Data were then analyzed using Kruskal–Wallis and Dunn’s multiple comparisons tests. Correlation and regression analyses were also used to relate fluorescence and color parameters on the photographs at α = 0.05. Fluorescence and color data indicated significant differences among the materials (p < 0.05). L* a* and b* color coordinates from both photographs were highly correlated to fluorescence intensities found by the reference method (r365 − 0.95, r405 − 0.94), while regression analysis indicated a strong linear relationship (R2365 − 0.88, R2405 − 0.89). The study showed that filtered flash photography either by the use of a 365 nm or a 405 nm band pass filter can directly visualize fluorescence of composite resin materials and differences in fluorescence between them.

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Kusuma, Sigit Setya. "Colour Splash untuk Model Perempuan dalam Fotografi Ekspresi." REKAM: Jurnal Fotografi, Televisi, dan Animasi 12, no. 1 (2016): 43. http://dx.doi.org/10.24821/rekam.v12i1.1383.

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AbstrakPenciptaan karya fotografi ini berjudul “Colour Splash untuk Model Perempuan dalam Fotografi Ekspresi”. Tujuan penciptaan karya fotografi ini untuk: (1) mendeskripsikan visualisasi respons colour splash dengan percikan air dan ledakan holi powder untuk objek model perempuan dalam karya fotografi ekspresi; (2) menjelaskan faktor yang mendukung sehingga karya colour splash dan objek perempuan menarik jika divisualisasikan menjadi karya fotografi ekspresi; dan (3) menjelaskan alasan colour splash dengan percikan air dan ledakan holi powder untuk objek perempuan menjadi daya tarik apabila dijadikan karya fotografi ekspresi. Metode yang digunakan dalam penelitian ini adalah metode observasi, dengan cara pengumpulan data, yaitu mengadakan pengamatan langsung terhadap suatu objek dalam suatu periode tertentu dan dengan merekam hal-hal tertentu yang diamati. Metode ini dilakukan dengan menjabarkan apa yang ingin disampaikan disertai dengan eksplorasi dan eksperimen terhadap objek, lokasi, alat, dan teknik yang akan dipakai dalam fotografi colour splash. Hasil dari penciptaan karya fotografi ini adalah penulis secara detail menjadi tahu tentang proses kreatif penciptaan karya fotografi seni. Bahwa ledakan warna dan percikan air yang berwarna bisa didukung oleh objek perempuan yang mampu menghasilkan foto yang bernilai artistik sekaligus menjadi pengalaman seni yang baru. AbstractColor Splash for Female Models in Fine Art Photography. This creation of photography is entitled “Color Splash for Female Models in Fine Art Photography”. The aims of this creation are (1) describing visual response towards color splash with water splash and holi powder explosion on the female models in the context of fine art photography; (2) explaining supportive factors which are able to make the female objects and the color splash look interesting visually in fine art photography; and (3) explaining the reasons why color splash with water splash and holi powder on the female objects become attractive in fine art photography. The method used in this research was the observatory method by means of collecting data, which were conducting direct observation of an object in a certain period of time and recording them. This method was conducted by describing everything which was needed to be delivered along with the exploration and experiment towards the objects, location, tools, and techniques used in color splash photography. This study resulting a deep knowledge of the creative process in fine art photography creation, that the color explosion and the colorful water splash could support the female photographic objects in order to create artistic photographs and whole new artistic experience.

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Mann, B. S., J. R. Johnson, K. He, et al. "Utility of photography to confirm skin lesion response assessed using a severity weighted assessment tool (SWAT) in cutaneous T-cell lymphoma (CTCL)." Journal of Clinical Oncology 25, no. 18_suppl (2007): 6579. http://dx.doi.org/10.1200/jco.2007.25.18_suppl.6579.

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6579 Background: In Oct 2006, FDA approved vorinostat for treatment of cutaneous manifestations of CTCL–based on response rate and duration of response observed in CTCL skin lesions. Response was determined by change in SWAT score at follow up compared to the baseline score. SWAT Score: sum of % Body Surface Area weighted by factor 1, 2, or 4 for patch (no elevation from normal skin), plaque (< 5 mm elevation) and tumor (= 5 mm elevation), respectively. All responses but one were partial. A partial response required = 50% reduction in whole body SWAT score lasting = 4 weeks. FDA also reviewed serial photographs of all patients (standard whole body views and close-ups of skin lesions), submitted as supportive evidence. Methods: An expert external reviewer, blind to SWAT scores, adjudicated responses by examining photographs and response determinations by photographs and by SWAT scores were compared. Results: Based on SWAT scores, skin lesions in 18 of 61 stage = IIB CTCL patients responded to vorinostat; there were 17 partial and 1 complete responses. Blinded reviewer adjudicated 4 photographs not evaluable (reasons: blurred image, color or light problem, wrong label), easily confirmed 7 responses, and called 7 responses equivocal. Responses seemed easier to determine in skin lesions with tumors or ulcers. Predominantly patch or plaque lesions were harder to evaluate: patches due to poor color reproduction and plaques due to inability to palpate. A response from plaque to patch morphology decreases SWAT score 50%, but the change may not manifest adequately in a photograph. Small sample size did not allow a reliable statistical analysis for correlation between different lesion types and ability to confirm objective responses (based on SWAT scores) by photography. Conclusions: Photography allows a limited evaluation of skin lesions in CTCL: inability to measure lesion thickness in photographs limits direct confirmation of SWAT scores. Photography complements SWAT evaluation: in half the cases in the vorinostat pivotal trial, a response by SWAT score was easily confirmed by the reviewer blind to SWAT scores. Further experience and technological advances in photography may reduce the number of not evaluable photographs. No significant financial relationships to disclose.

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Felix, John. "Penggunaan Kontras Warna dalam Fotografi." Humaniora 1, no. 2 (2010): 315. http://dx.doi.org/10.21512/humaniora.v1i2.2872.

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Photography now is a science that attract many people from those who learn it jus for hobby or those who wish to enter the industry. Since human found a way to record colors in photographic meaning, photographers face a new challenge on how to compose colors and what is the effect of using the chosen color. This article explain how to apply colors not just as a way to make a photograph looks as what human sees but also as a visual element to give an emphasis to the main subject and still looks comfortable to the eye of the viewer.

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Sarsby, Jacqueline. "Exmoor Village Revisited: Mass-Observation's ‘Anthropology of Ourselves’, the ‘Feel Good Factor’ in Wartime Colour Photography and the Photograph as Art or Social Document." Rural History 9, no. 1 (1998): 99–115. http://dx.doi.org/10.1017/s0956793300001461.

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In 1988, HTV made a series of programmes about a Somerset village called Luccombe. Their starting point was the Mass-Observation survey carried out over forty years before and described in Exmoor Village. No mention was made of the larger project - the ‘wholesome’ British export, for which the survey and perhaps even more importantly, the photographs, were commissioned. The difficulties of producing and reproducing fine-quality colour photographs at that time, however, suggest that the social investigators and the photographer were pursuing widely differing goals. The different approaches of social documentary photography and pictorial photography may not be obvious in a beautiful print, embedded in an anthropological text, but the use of photographs, which were essentially reconstructions of idealised village life disguised as documents, indicates how much importance the Ministry of Information attached to exporting the image of the wholesome, ‘traditional', English rural community.

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Dissertations / Theses on the topic "Photography Photography Color photography"

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Hudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.

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Pateman, Vanessa. "Color correction for underwater photography /." Click here to view, 2009. http://digitalcommons.calpoly.edu/grcsp/11.

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Thesis (B.S.)--California Polytechnic State University, 2009.<br>Project advisor: Brian Lawler. Title from PDF title page; viewed on Jan. 20, 2010. Includes bibliographical references. Also available on microfiche.

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Curtin, Tansy. "Contemporary German photography and American realism : is colour the only link? /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmc9782.pdf.

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Ferradans, Ramonde Sira. "Color image processing problems in digital photography." Doctoral thesis, Universitat Pompeu Fabra, 2011. http://hdl.handle.net/10803/51297.

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In this thesis, we discuss three image processing topics: High Dynamic Range (HDR) image creation in scenes with motion, Tone Mapping (TM), and Demosaicking. The first part of this thesis focuses on the creation of HDR images using gradient fusion techniques, and proposes a method that deals with motion and avoids bleeding and ghost artifacts. In the second part, we tackle the TM problem, whose goal is to produce a low dynamic range picture from an HDR image that reproduces the sensation of an observer in the scene. We review the perceptual principles that we find important for TM purposes and present a new method that compares well to the state of the art. Finally, we propose a new method to reconstruct the three color channels of a picture taken with a Bayer filter. This problem is called Demosaicking and will be presented in the third part of this thesis.<br>En esta tesis tratamos tres temas de procesamiento de imagen: creación de imágenes de alto rango dinámico o HDR, Tone Mapping (TM) y Demosaicking. En la primera parte proponemos un método para la creación de imágenes HDR con movimiento que permite generar resultados sin artefactos de tipo bleeding y ghosting. En la segunda parte de la tesis tratamos el problema de TM cuyo objetivo es comprimir el rango dinámico de una imagen HDR para ser mostrada en una pantalla o impresa, simulando lo mejor posible la percepción de un sujeto en la escena. Presentaremos los principios sicofísicos que consideramos relevantes para TM y propondremos un método nuevo que mejora los resultados del estado del arte. Finalmente, en la tercera parte presentamos un método de Demosaicking o reconstrucción de los tres canales de color de una imagen tomada con un filtro de Bayer.

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Masters, Chase. "An analysis of the shift from black & white to color photography in higher education introductory photography courses." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1225313825.

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Blazy, Diane. "Repose /." Online version of thesis, 1990. http://hdl.handle.net/1850/11320.

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Masters, Chase M. "An Analysis of the Shift from Black and White to Color Photography in Higher Education Introductory Photography Courses." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1225313825.

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Sayer, James Richard. "The perception of moderate and large color differences in photographic prints : an evaluation of five color-difference equations /." This resource online, 1991. http://scholar.lib.vt.edu/theses/available/etd-10312009-020033/.

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Fredericks, Erin P. K. "Preferred color correction for mixed taking-illuminant placement and cropping /." Online version of thesis, 2009. http://hdl.handle.net/1850/11350.

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Milburn, David L. "Using measured photography to obtain optimal results from CCD color scanners /." Online version of thesis, 1993. http://hdl.handle.net/1850/11095.

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Books on the topic "Photography Photography Color photography"

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Colin, Glanfield, ed. Creative color photography. Crescent Books, 1987.

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Hirsch, Robert. Exploring color photography. 3rd ed. Brown & Benchmark, 1997.

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Hirsch, Robert. Exploring color photography. 2nd ed. Brown & Benchmark, 1993.

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Hirsch, Robert. Exploring color photography. W.C. Brown, 1989.

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Eaton, George T. Photographic chemistry in black-and-white and color photography. 4th ed. Morgan & Morgan, 1986.

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Collins, Phil. I only want you to love me. Photoworks in collaboration with the Brighton Photo Biennial, 2003.

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Mastering color digital photography. Lark Books, 2006.

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A, Peltason Ruth, ed. Ernst Haas color photography. H.N. Abrams, 1989.

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Wentzel, Fred. Graphic arts photography, color. 2nd ed. Graphic Arts Technical Foundation, 1987.

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University of Arizona. Center for Creative Photography., ed. Edward Weston: Color photography. Center for Creative Photography, University of Arizona, 1986.

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Book chapters on the topic "Photography Photography Color photography"

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Yélamos, Oriol, Rafael Garcia, Brian D’Alessandro, Mani Thomas, Sachin Patwardhan, and Josep Malvehy. "Understanding Color." In Photography in Clinical Medicine. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24544-3_8.

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Fujita, Shinsaku. "Color Reproduction." In Organic Chemistry of Photography. Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-662-09130-2_6.

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Fujita, Shinsaku. "Color Developers." In Organic Chemistry of Photography. Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-662-09130-2_9.

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Fujita, Shinsaku. "Chemistry in Instant Color Photography." In Organic Chemistry of Photography. Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-662-09130-2_16.

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Fujita, Shinsaku. "History of Color Development." In Organic Chemistry of Photography. Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-662-09130-2_8.

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Lipton, Lenny. "Color Photography Before the Movies." In The Cinema in Flux. Springer US, 2021. http://dx.doi.org/10.1007/978-1-0716-0951-4_42.

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Allen, Elizabeth. "Color Measurement and Calibration in Medical Photography." In Photography in Clinical Medicine. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24544-3_9.

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Morley, Henry, and William Wills. "“Photography”." In Color and Victorian Photography. Routledge, 2020. http://dx.doi.org/10.4324/9781003084976-22.

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KAPECKI, J. "Color Photography." In The Focal Encyclopedia of Photography. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80740-9.50142-2.

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"Color Photography." In Chemistry of Heterocyclic Compounds: A Series Of Monographs. John Wiley & Sons, Inc., 2008. http://dx.doi.org/10.1002/9780470186817.ch11.

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Conference papers on the topic "Photography Photography Color photography"

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Hubel, Paul M., and Markus Bautsch. "Resolution for color photography." In Electronic Imaging 2006, edited by Nitin Sampat, Jeffrey M. DiCarlo, and Russel A. Martin. SPIE, 2006. http://dx.doi.org/10.1117/12.654573.

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Zhang, Baoying, Guoguang Mu, Zhiliang Fang, Zhengqun Li, Hui Fang, and Yong Yang. "TOCM digital color photography." In International Conference on Optical Instrumentation and Technology, edited by Toru Yoshizawa, Ping Wei, and Jesse Zheng. SPIE, 2009. http://dx.doi.org/10.1117/12.837656.

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Hasler, David, and Sabine E. Susstrunk. "Color handling in panoramic photography." In Photonics West 2001 - Electronic Imaging, edited by Sabry F. El-Hakim and Armin Gruen. SPIE, 2000. http://dx.doi.org/10.1117/12.410897.

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Mu, Guoguang. "Physical method for color photography." In International Conference on Holography and Optical Information Processing, edited by Guoguang Mu, Guofan Jin, and Glenn T. Sincerbox. SPIE, 1996. http://dx.doi.org/10.1117/12.263016.

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Davies, Theo'. "Colour Schlieren Photography." In 16th International Congress on High Speed Photography and Photonics, edited by Michel L. Andre and Manfred Hugenschmidt. SPIE, 1985. http://dx.doi.org/10.1117/12.968019.

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Chung, Robert Y., and Darunee Sa-areddee. "CMS for digital photography: a case study." In 9th Congress of the International Color Association, edited by Robert Chung and Allan Rodrigues. SPIE, 2002. http://dx.doi.org/10.1117/12.464697.

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Chalmers, Andrew N. "Color aliasing and color reproduction in digital photography." In 9th Congress of the International Color Association, edited by Robert Chung and Allan Rodrigues. SPIE, 2002. http://dx.doi.org/10.1117/12.464691.

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Akkaynak, Derya, Eric Chan, Justine J. Allen, and Roger T. Hanlon. "Using spectrometry and photography to study color underwater." In OCEANS 2011. IEEE, 2011. http://dx.doi.org/10.23919/oceans.2011.6106936.

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Chakrabarti, Ayan, William T. Freeman, and Todd Zickler. "Rethinking color cameras." In 2014 IEEE International Conference on Computational Photography (ICCP). IEEE, 2014. http://dx.doi.org/10.1109/iccphot.2014.6831801.

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Rabie, Tamer. "A Novel Compression Technique for Super Resolution Color Photography." In 2006 Innovations in Information Technology. IEEE, 2006. http://dx.doi.org/10.1109/innovations.2006.301979.

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Reports on the topic "Photography Photography Color photography"

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

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

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

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

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

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

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

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

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

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

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