Academic literature on the topic 'Photography – Special effects'
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Journal articles on the topic "Photography – Special effects"
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Wakelin, Daniel. "A New Age of Photography: ‘DIY Digitization’ in Manuscript Studies." Anglia 139, no. 1 (March 4, 2021): 71–93. http://dx.doi.org/10.1515/ang-2021-0005.
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Abstract Since c. 2008 many special collections libraries have allowed researchers to take photographs of medieval manuscripts: this article calls such self-service photography ‘DIY digitization’. The article considers some possible effects of this digital tool for research on book history, especially on palaeography, comparing it in particular to the effects of institutionally-led digitization. ‘DIY digitization’ does assist with access to manuscripts, but less easily and with less open data than institutional digitization does. Instead, it allows the researcher’s intellectual agenda to guide the selection of what to photograph. The photographic process thereby becomes part of the process of analysis. Photography by the researcher is therefore limited by subjectivity but it also helps to highlight the role of subjective perspectives in scholarship. It can also balance a breadth or depth of perspective in ways different from institutional digitization. It could in theory foster increased textual scholarship but in practice has fostered attention to the materiality of the text.
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Gizzi, Ferdinando. "Photographing a miraculous apparition in fin-de-siècle France." Magic, Vol. 5, no. 1 (2020): 28–35. http://dx.doi.org/10.47659/m8.028.art.
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This paper is dedicated to the photographic coverage of the alleged miraculous apparitions, which occurred in the small French village of Tilly-sur-Seulles between 1896 and 1897. These photos, circulated as postcards and appearing in popular magazines of the time such as L’Illustration and Le Monde illustré, were presented – by virtue of the authority of the photographic as an indexical trace – as “authentic” testimonials of the supernatural events, though in fact neither recognized nor approved by the Catholic Church. These photographs used the already-known double exposure process of spirit photography, bringing these exotic visual materials into the tradition of religious “authentic fakes”. But more importantly, such images manifested the “visionary fervour” of late nineteenth-century France, that is, the growing desire of the modern crowd to see the invisible in more and more spectacular and convincing ways. Such a new spectatorial desire – that can also be found in the very successful genre of the photographs of the real bodies of mystics, saints, and seers – would be perfected by a whole series of contemporary forms and attractions, and finally, by cinematographic special effects. Keywords: nineteenth century, Marian apparitions, visionaries, photography, superimposition
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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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Agbo, George Emeka. "The #EndSARS Protest in Nigeria and Political Force of Image Production and Circulation on Social Media." IKENGA Journal of Institute of African Studies 22, no. 2 (June 30, 2021): 1–29. http://dx.doi.org/10.53836/ijia/2021/22/2/002.
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For many years, the unit of the Nigerian Police Force, Special Anti-Robbery Squad (SARS) was accused of violent crimes and violation of human rights of citizens. One wondered if SARS had dual operational duties – to kill and dehumanise those it ought to protect. Between October and November 2020, multitude of Nigerian youths took to the street to demand for abolition of SARS, thus #EndSARS protest. Photography was at the heart of the social movement. Employing digital methods including compositional analysis and audience interpretation, this paper examines a selection of #EndSARS-related photographs and their accompanying comments retrieved from social media in relation to the impact on the street demonstration. I investigate the modes of creating the images and how they produce political effects. I argue that the use of images in the #EndSARS protest illuminates the rising conviction among Nigerians that photography can aid in the transformation of their precarious living conditions. These include the use of the camera in the conventional sense of framing the fleeting world. Others are digital editing of photographs, staged production and appropriation of images that may have no connection with the protest. Then, I analyse as political act the sense of obligation with which the images are produced and circulated. These lines of enquiry contribute to the emerging work on how photography and social media are converging to transform the political sphere.
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Altamura, Irene, Emanuele Angelini, Roberta Massino, and Irmgard Schuler. "History of Palimpsest Photography in the Vatican Library." Vatican Library Review 1, no. 2 (December 14, 2022): 149–78. http://dx.doi.org/10.1163/27728641-00102010.
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Abstract This paper focuses on the nearly 200-year history of reproduction and imaging of the famous correspondence of Fronto, transmitted in a palimpsest from the Abbey of Bobbio the pages of which are now kept in the Biblioteca Ambrosiana (Milan) and in the Vatican Library. In addition to the general difficulty in accessing an undertext, these pages present different problems that compromise the reading of Fronto. The application of chemical reagents and gelatin has left organic and inorganic material on the parchment. Together with the effects of humidity and changes in temperature, these make photographic recovery a special challenge. The ways and means for creating and processing reproductions and images of this palimpsest text, from the time of Angelo Mai to modern photography and digital images, will be illustrated.
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Мочульский, Денис. "Формы правдоподобия у Ролана Барта: Punctum, третий смысл, эффект реальности." Palladion, no. 4 (October 17, 2022): 35–61. http://dx.doi.org/10.55167/eccc1435bc44.
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The article discusses Roland Barthes’s concepts associated with special forms of verisimilitude in photography and literature: the punctum and the "third meaning" in the photographic image: the "third meaning" can be considered as Barthes's early attempt to develop a theory of the punctum. In literary texts, the so-called "effect of reality" is examined. Punctum and the effect of reality are important elements of Barthes's intellectual project, as they both do not reduce the potential ambiguity of the work, while the conditions under which these effects occur are fundamentally different. The article compares them in Barthes's terminology and determines their place in the cultural context.
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Petino, Gianni, Maria Donata Napoli, and Mario Mattia. "Landscape, Memory, and Adverse Shocks: The 1968 Earthquake in Belìce Valley (Sicily, Italy): A Case Study." Land 11, no. 5 (May 20, 2022): 754. http://dx.doi.org/10.3390/land11050754.
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The interaction between humans and nature dramatically reveals the role of sudden and destructive events in the progressive and never-ending trend of depletion of the territorial dimension of the Belìce Valley (Valle del Belìce, Sicily, Italy). If on the one hand a tragic event, such as the earthquake of 1968, that destroyed towns and villages in the Belìce Valley, represented a moment of pain and suffering for local communities and their territories, on the other, more than 50 years after the event, we are able to shed light on the reaction to the earthquake effects through an in-depth analysis of the heritage of the physical and immaterial rubble. Our research is aimed at framing, through special geovisual tools, the paths of this rebuilding process and to verify whether the “new” interaction of humans and nature has reached an acceptable balance. After introducing the concept of landscape and investigating some local manifestations within the Belìce Valley, we tackle the technical question of re-photography as a powerful and quick method for observing the territorial changes that occurred after the earthquake. This approach is based on the collection of historical photographs and, subsequently, onsite activities for the creation of a contemporary archive of images. The method used for comparing the images was that of re-photographic overlapping, a useful technique to compare different moments of the history of a landscape and to analyze the effectiveness of the process of rebuilding. Finally, this analysis introduces us to a new perspective where in our opinion, it is possible to frame some features of the Belìce Valley and some more general aspects that are useful for other territories hit by destructive events and having to face choices related to the future of their communities.
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Solihin, Mohammad. "FOTOGRAFI SEBAGAI MEDIA POLITIK DI INDONESIA." MASSIVE: Jurnal Ilmu Komunikasi 1, no. 1 (June 30, 2021): 67. http://dx.doi.org/10.35842/massive.v1i1.18.
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ABSTRACTPhotography is one of the media used to introduce the character or self-image of politicians during regional head elections, or presidential elections. Among them are by displaying photos of faces or campaign activities for APK (Campaign Props) billboards, namely billboards or billboards installed on protocol roads that can be seen by the public, pamphlets, mass media, and etc. Visual media in the form of photos has a very big influence on public opinion. Photography has a visual power that is able to construct the authenticity of factual events. The purpose of this study is to find out how the process of making photography a political visual communication medium in Indonesia. The method used is descriptive qualitative with an approach through the literature study method. The results of this study can be concluded that the process of making photography a political medium of visual communication to the public is carried out in several ways, namely by recruiting special photographers themselves, designing them, and distributing them. The effect of the message generated from a photography with a good appearance is the effect of knowledge and effect of information.Keywords: Photography, Political Media, Visual Communication, Message Effects, Political Communication. ABSTRAKFotografi merupakan salah satu media yang digunakan untuk mengenalkan karakter atau citra diri politisi saat pemilihan kepala daerah, ataupun pemilihan presiden. Diantaranya dengan memajang foto-foto wajah atau kegiatan kampanye untuk baliho APK (Alat Peraga Kampanye) yakni papan reklame atau billboard yang dipasang di jalan-jalan protokol yang bisa dilihat oleh masyarakat luas, pamflet, media massa, dan sebagainya. Media visual berupa foto sangat besar pengaruhnya mempengaruhi opini publik. Fotografi memiliki kekuatan visual yang mampu mengkonstruksi keotentikan peristiwa faktual. Tujuan dari penelitian ini untuk mengetahui bagaimana proses menjadikan fotografi sebagai media komunikasi visual politik di Indonesia. Metode yang digunakan deskriptif kualitatif dengan pendekatan melalui metode studi literatur. Hasil dari penelitian ini dapat disimpulkan bahwa proses menjadikan fotografi sebagai media politik komunikasi visual kepada masyarakat dilakukan dengan beberapa cara, yakni dengan merekrut khusus fotografer sendiri, mendesainnya, dan menyebarkannya. Efek pesan yang ditimbulkan dari sebuah fotografi dengan tampilan yang baik adalah efek pengetahuan dan efek informasi.Kata Kunci: Fotografi, Media Politik, Komunikasi Visual, Efek Pesan, Komunikasi Politik.
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Zhou, Yu. "Social Media Platforms and Representations of the Urban Landscape." International Journal of Education and Humanities 4, no. 1 (August 23, 2022): 115–19. http://dx.doi.org/10.54097/ijeh.v4i1.1393.
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This essay is presented that discusses the relationship between social media platforms and representations of the urban landscape. On the one hand, the various social media platforms provide unprecedented opportunities for landscape photographers. Firstly, they can share photos and videos about the urban public spaces and environment with each other timely and conveniently. Secondly, the built-in special effects of social media platforms make everyone can be the “civilian artists”. Their observations and discoveries enrich the context of urban landscape. Thirdly, photography has become a new social language with the help of social media platforms. Lastly, the mass audience and powerful infectivity of social media platforms affect the representations of the urban landscape positively. On the other hand, social media platforms also affect the representations of the urban landscape negatively. First and foremost, the lack of values in photos uploaded to social media platforms is a serious problem. Secondly, the photos and representation of urban landscape are spoiled because social media platforms stifle people’s creativity. Lastly, the attractive photos uploaded to social media platforms just represent the unreal world.
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Ross, Ronald G., and Liang-chi Wen. "Crack Propagation in Solder Joints During Thermal-Mechanical Cycling." Journal of Electronic Packaging 116, no. 2 (June 1, 1994): 69–75. http://dx.doi.org/10.1115/1.2905507.
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Differential expansion induced creep-fatigue resulting from temperature cycling is an important cause of solder joint failure. The deterioration of solder joint integrity typically involves a sequential development of local stressing, microcracks, crack initiation and crack propagation, ultimately resulting in electrical open-circuiting by total joint separation from the PWB footprint. To better understand the failure process, a series of combined analytical and experimental investigations have been performed on flat-pack parts with gull-wing leads ranging in height from 9 to 56 mils. JPL’s special purpose nonlinear finite element computer program has been modified to dynamically simulate the crack propagation process. Solder creep properties, including the effect of grain growth, are also incorporated into the model. Depending upon the system geometry and materials properties, the combination of crack development and grain growth may have either a positive or negative effect on the rate of cracking of the solder elements. Consequently, the crack propagation process may accelerate or decelerate as cycles progress. Sensitivity studies are used to highlight the individual effects of crack propagation and grain growth and compare the failure prediction results with those obtained using conventional finite element techniques. The analytical results are corroborated using visual observations obtained using SEM photography of test samples exposed to the thermal-cycle environment used in the analysis.
Dissertations / Theses on the topic "Photography – Special effects"
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Fuller, David 1960. "The significance of the photographic message." Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/277233.
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Photographic realism is an effective framework for communicating meaning. In other words, the purpose is to convey an idea--not, for example, to depict a landscape. Misuse of photographic images may arise from a photographer's deliberate attempt to imbue an image with the meaning he or she desires. Thus, we might question photography's objective nature, although this should not be confused with realism. The latter refers to the imitative or representational quality of the subject, the former refers to scientific validity or truth. The issue of objectivity suggests useful concepts for art education. First, this paper considers photographic realism--technique is not a primary concern. Second, procedures that can alter realism are made evident. By understanding and using these methods, a student can more successfully comprehend and alter the photographic message.
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Leite, Marcelo Henrique. "Efeitos especiais digitais na imagem técnica: a desocultação da arte." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-01062015-160814/.
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O objeto do estudo deste trabalho são as imagens de efeitos especiais digitais em computação gráfica (Computer Graphic Image - CGI) inseridas em narrativas cinematográficas da atualidade, principalmente a partir dos anos 1990, com a pluralidade de novas formas de viabiliza-lás baseadas em simulação e no contexto de uma sociedade em mutação nas formas de criação e reprodução técnica do audiovisual. A indagação proposta é identificar se os efeitos especiais simulados por CGI e as imagens decorrentes são apenas reconfiguração de velhas práticas e técnicas modernizadas tecnologicamente, ou estão neles embutidos novos modelos de compreensão do mundo na atualidade, se há um regime visual rearticulando o imaginário na pós-modernidade com nova relação entre representação e simulação. Essas articulações podem abrir espaços para se repensarem as relações atuais com as imagens digitais em um contexto entre a razão e a técnica, na óptica moderna, e o tempo presente e o prazer, na dimensão pós-moderna. O objetivo do presente estudo é estabelecer um diálogo com os efeitos especiais de segunda geração ou Digital Visual Effect (DVFx) para além de sua aplicabilidade prática somente como ferramenta para a linguagem narrativa em filmes mas desenvolver novas articulações entre o visível e o dizível, as possíveis visibilidades dos efeitos especiais como um novo regime visual na arte cinematográfica. O estudo avança para além de uma historicidade ao entender que as possibilidades trazidas pela tecnologia de computação gráfica (CG) produziram uma significativa renovação das possibilidades visuais no cinema contemporâneo, o que com certeza reflete e refletirá ainda mais na forma de consumo dos produtos audiovisuais produzidos a partir da ampliação do uso dessas tecnologias digitais e seu paralelo com estética, a arte e a cultura. A desocultação do processo criativo presente na técnica abre portas para a compreensão renovada do imaginário social e especialmente às formas de sua manifestação no campo das artes e da cultura. A metodologia empregada neste estudo será baseada em dados secundários desde livros e autores, pequenos trechos de filme, frames e até aplicações tecnológicas para demonstrar as configurações trazidas pelos efeitos especiais em computação gráfica (CG). * frames: é cada um dos quadros ou imagem fixa de um produto audiovisual.The object of study are the images of digital special effects in computer graphics (Computer Graphic Image - CGI) inserted in film narratives of today, mainly from the 1990s, with the plurality of new ways to make them viable based on simulation and in the context of a changing society in ways of creating and technical audiovisual playback. The proposed inquiry is to identify whether the special effects simulated by CGI and the resulting images are just rewriting practices and old techniques technologically upgraded, or are embedded in them new models of understanding the world today, if there is a visual scheme rearticulating the imaginary postmodern with new relationship between representation and simulation. These joints can open spaces to rethink the current relations with the digital images in a context between reason and the technique in modern optics, and the present time and pleasure, in the postmodern dimension. The aim of this study is to establish a dialogue with the special effects of second generation or Digital Visual Effect (DVFx) in addition to its practical applicability only as a tool for narrative language in movies but develop new links between the visible and the speakable, the possible visibility of special effects as a new visual regime in cinematic art.). The study goes beyond a historicity to understand that the opportunities brought about by computer graphics technology (CG) produced a significant renewal of visual possibilities in contemporary cinema, which certainly reflects and further reflected in the form of consumption of the produced audiovisual products from the expanded use of these digital technologies and its parallel with aesthetics, art and cultura.A unblinding of the creative process in this technique opens the door to a renewed understanding of the social imaginary and especially the forms of its manifestation in the arts and culture. The methodology used in this study is based on secondary data from books and authors, small snippets of film, frames and even technological applications to demonstrate the settings brought by special effects in computer graphics (CG). * Frames: is each of the frames or still image of an audiovisual product.
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Kazur, Bogna. "The (Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age." Doctoral thesis, 2019. http://hdl.handle.net/21.11130/00-1735-0000-0005-14F6-F.
Full textBooks on the topic "Photography – Special effects"
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Chris, Middleton, ed. Digital photography: Special effects. New York: Amphoto Books, 2003.
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Stecker-Orel, Elinor. Special effects photography handbook. Buffalo, N.Y: Amherst Media, 1998.
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Blackman, Barry M. Special effects for print art directors, designers, and photographers: A menu of unretouched special effects. New York, N.Y: Van Nostrand Reinhold, 1987.
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Anderson, Christina Z. Experimental photography workbook. 5th ed. Bozeman, Mont: Christina Z. Anderson, 2006.
Find full textBook chapters on the topic "Photography – Special effects"
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Aronoff, Janee, Nyree Costello, Gavin Cromhout, and Vikas Shah. "Special Effects." In Photoshop 7 Professional Photographic Techniques, 221–42. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-0779-5_11.
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Turquety, Benoît. "Photography and the Composite Image, or A Portrait of Méliès as Bergsonian Filmmaker." In Special Effects on the Screen. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789462980730_ch08.
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The prominence of Georges Méliès in the history of cinema is indelibly linked to his use of the ‘substitution trick’, often described as a forebear of editing. Yet Méliès also exploited a different sort of trick, one stemming from ‘recreational photography’: multiple exposures with a black background. While the tricks achieved with this technique have received less attention, they are no less crucial for two reasons. First, the technique pertains to what, for many theorists, has been conceived as an essential feature of photographic and cinematographic images, namely their synchronicity, or the fact that, as Henri Van Lier put it, “whatever the exposure time and the moment of impact of each particular photon, the arrival of all, in the end, is dated by the arrival of the last one.” Secondly, Méliès’s use of the black background enables us today to reassess a distinction that digital cinema has undermined, namely that between editing and compositing.
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Turquety, Benoît. "Photography and the Composite Image, or A Portrait of Méliès as Bergsonian Filmmaker." In Special Effects on the Screen, 245–70. Amsterdam University Press, 2022. http://dx.doi.org/10.2307/j.ctv3029w4r.11.
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Turquety, Benoît. "8. Photography and the Composite Image , or A Portrait of Méliès as Bergsonian Filmmaker." In Special Effects on the Screen, 245–70. Amsterdam University Press, 2022. http://dx.doi.org/10.1515/9789048530205-009.
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Haynes, Lloyd. "The Ultimate Experience in Gruelling Terror." In The Evil Dead, 27–42. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859340.003.0003.
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This chapter examines the difficulties that were to be found in raising the finances for a full-length 16mm horror feature. The budget was set at $150,000 and it took some time to raise, as the filmmakers went from investor to investor, screening WITHIN THE WOODS for them and outlining their ideas for what would eventually become THE EVIL DEAD (then known as BOOK OF THE DEAD). Once financing was secured, locations were sought in Tennessee, where the freezing weather and long working hours played havoc with the patience of the cast and crew. Once principal photography was over, the crew relocated to Michigan for the post-production re-shoots and the filming of additional scenes, and this chapter also considers the innovative (and highly improvised) cinematography of Tim Philo and memorable special make-up effects of Tom Sullivan, whose demon meltdown sequence is one of the film’s many highlights.
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Bergstrom, Janet. "Murnau’s Sunrise: In-Camera Effects and Effects Specialists." In Special Effects on the Screen. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789462980730_ch12.
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During the late 1920s, cinematographers in the US insisted that they should supervise outside specialists. An unforgettable “special effects” shot in Sunrise was photographed according to the needs of outside specialist Frank Williams’s patented process and his own lab. Understanding the Williams shot encourages us to see other unusual technical processes throughout Sunrise as they served Murnau’s drama rather than innovation for its own sake. Studying the achievement and function of specific shots in Sunrise leads to the larger debate about creative technical-aesthetic control that is similar to modern-day arguments about who should determine the final look of a film: digital postproduction specialists or the cinematographer, production designer, and director working together.
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Marion, Philippe. "Image Capture, or The Control of Special Effects." In Special Effects on the Screen. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789462980730_ch11.
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This essay begins by considering the tension that exists between special effects and “trucages.” Indeed, while the latter seeks concealment and integration, the former are far more exhibitionist in openly revealing themselves. This distinction then leads the author to reflect on a type of special effect that has now become commonplace, namely motion/ performance capture imagery. Using the example of The Adventures of Tintin (Spielberg, 2011), he shows how this effect maintains a constant “photorealist pressurization,” all the while managing to emancipate itself from the photographic nature of camera-produced images. Next, images produced by motion capture are compared with those created with the use of GoPro cameras, as both stand together in our digital age as means to exercise mastery (as “capture”) over some exhaustively recordable reality.
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Belton, John. "Images as Visual Effects." In Special Effects on the Screen. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789462980730_ch02.
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The advent of digital imaging has prompted historians and theorists such as Stephen Prince to re-theorize the nature of the image, using special effects as a lens through which to view contemporary motion imaging. This paper draws on Prince’s work to argue that the photographic image has always been a special effect. If, as Bazin suggested, the term “image” refers to “everything that the representation on the screen adds to the object there represented … as opposed to what it reveals of it,” every image is a construction, a composite of sorts. From this perspective, there is no radical break between the nature of the analog and the digital image; the latter is merely an extension of the other. Both analog and digital imaging are products of addition. The additive nature of digital imaging (and projection) provides a perspective from which it is possible to view digital imaging as a form of special effects.
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Loew, Katharina. "Conclusion: Techno-Romantic Cinema from the Silent to the Digital Era." In Special Effects and German Silent Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725231_concl.
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Techno-romantic thought, which construes machine technology as a means to reach beyond material reality, is still with us today. It is reflected in the vogue of speculative fiction in contemporary moving image media, which has been made possible by radical advances in digital visual effects. Computer-generated imagery has brought into reach the fully malleable photograph, a dream that epitomizes a major triumph of the human mind over outside reality and thus an essentially techno-romantic fantasy. The same ambition already animated German silent filmmakers, who saw special effects as a way to shape mechanically produced images. Their use of trick technology for conveying thoughts and emotions gives rise to a new research area: special/visual effects as artistic tools.
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Loew, Katharina. "Modern Magicians: Guido Seeber and Eugen Schüfftan." In Special Effects and German Silent Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725231_ch02.
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Two technicians had a particularly formative impact on the evolution of special effects in Germany. Film pioneer Guido Seeber favoured methods like multiple exposure composites, which allow the cinematographer to excel both technically and creatively. Aiming at forging convincing composite spaces on screen, Eugen Schüfftan invented the only widely used commercial special-effects technique originating in Europe, the Schüfftan process. In similar ways, Seeber’s photographic and Schüfftan’s perceptual effects construe technology as cinema’s core creative tool and the cinematic image as fundamentally malleable. Both shared technoromantic views, which is apparent from their devotion to the goal of film art and commitment to devising medium-specific means for transcending material reality and expressing emotions and ideas.
Conference papers on the topic "Photography – Special effects"
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Nejad, A. S., S. A. Ahmed, L. A. Roe, and R. S. Gabruk. "Experimental Studies of Reactive and Non-Reactive Flows in Dump Combustors." In ASME 1990 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1990. http://dx.doi.org/10.1115/90-gt-082.
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The objectives of this experimental program are two fold; first, to investigate, understand, and document the effects of heat release on the characteristics of a dump combustor flowfield; secondly, to provide a benchmark set of experimental data to aid the development of time averaged CFD codes. A limited number of velocity profiles are reported in this manuscript to illustrate the effects of combustion and heat release, at an equivalence ratio of 0.65, on dump combustor flows. High-speed photography and spectral analysis complemented velocity measurements and served to examine and characterize combustion instability limits. Results indicate that combustion altered the dump combustor flowfield and significantly reduced the length of the corner recirculation region.
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De Giorgi, Maria Grazia, Maria Giovanna Rodio, and Antonio Ficarella. "Thermodynamic Effects on Cavitation in Water and Cryogenic Fluids." In ASME 2010 10th Biennial Conference on Engineering Systems Design and Analysis. ASMEDC, 2010. http://dx.doi.org/10.1115/esda2010-24694.
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The present study focuses on the formation of cavitation in cold and hot water and in cryogenic fluid, characterized by strong variations in fluid properties caused by a change in temperature. Cavitation phenomenon is investigated in water and nitrogen flows in a convergent-divergent nozzle through pressure measurements and the optical visualization method. High-speed photographic recordings have been made, the cavitation phenomena evolution and the related frequency content are investigated by means of pixel intensity time series data. The results obtained concur with those obtained with the spectral analysis of the pressure signals. In the case of cryogenic fluid frequency peaks are shifted towards lower frequencies, with respect to cold water and the magnitude of the signal rises, in particular at low frequencies, for nitrogen and hot water. This can be due to thermal effects that contribute also to the low frequencies in the case of cryogenic fluid. To verify the validity of this assumption, a simple model based on the resolution of Rayleigh equation is used.
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Liu, Y. C., Y. C. Shih, and F. B. Cheung. "Experimental Study of Two-Phase Flow in a Hemispherical Annular Gap With Boiling on One Side of the Channel." In ASME 1997 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1997. http://dx.doi.org/10.1115/imece1997-0843.
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Abstract The phenomenon of nature convection boiling on the outer surface of a heated hemispherical vessel surrounded by a thermal insulation structure was investigated experimentally. The objectives were to observe the behavior of the boiling-induced two-phase motion in the annular gap between the vessel and the insulation structure and to determine the flow effect on the rate of boiling. High-speed photographic records revealed the presence of violent cyclic ejection of the vapor masses generated by boiling on the vessel outer surface which resulted in a buoyancy-driven, upward, concurrent two-phase flow through the channel. When boiling was taking place at high heat flux levels, the flow was found to be three-dimensional with swirl formation. Measurements of the local boiling heat fluxes and the local wall superheats were made under steady-state boiling conditions covering the entire range of nucleate boiling with special emphasis on the high-heat-flux regime.
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Fitzgerald, Claire L., Adrian Briggs, Huasheng Wang, and John W. Rose. "Effect of Vapour Velocity on Condensation of Ethylene Glycol on Horizontal Integral Fin Tubes: Heat Transfer and Retention Angle Measurements." In 2010 14th International Heat Transfer Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/ihtc14-22254.
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Heat-transfer data are reported for forced-convection filmwise condensation of ethylene glycol flowing vertically downward over two single, horizontal instrumented integral-fin tubes and one plain tube. Vapor-side, heat-transfer coefficients were obtained by direct measurement of the tube wall temperature using two specially manufactured, instrumented tubes with thermocouples embedded in the tube walls. Both tubes have fin height of 1.6 mm and fin root diameter and 12.7 mm, with fin thickness and spacings of 0.3 mm and 0.6 mm, respectively for one of the tubes and 0.5 mm and 1 mm, respectively for the other. Tests were performed at low pressures; 5.59kPa, 8.15kPa and 11.23kPa, at nominal vapour velocities from 13m/s to 82 m/s. All the data show that both of the finned tubes provided an increase in heat flux at the same vapour-side temperature difference with increasing vapour velocity. Visual observations were made and photographs obtained of the fluid retention angle φf at each combination of vapor velocity and pressure tested. It was observed that the curvature of the meniscus was distorted by the increase in vapor velocity and in many cases, the extent of condensate flooding decreased compared to its value in the quiescent vapor case.
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Peterson, Eric, Seth Morris, Husam Alissa, Nicholas Keehn, Bharath Ramakrishnan, Vaidehi Oruganti, Ioannis Manousakis, and Noah Mckay. "A Novel Concept for Air Removal in Two-Phase Immersion Cooling Systems." In ASME 2021 International Technical Conference and Exhibition on Packaging and Integration of Electronic and Photonic Microsystems. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/ipack2021-72682.
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Abstract A 10 kW scale model of a decoupled immersion cooling rig is constructed in order to serve as a testbed for immersion cooling, using 3M FC3284 dielectric cooling fluid. A species separator is constructed and demonstrates an ability to remove air from the flowfield before the condensable gases enter the condenser vessel, verified with Schlieren photography. The condenser underperformed significantly compared to initial sizing calculations using the NTU method, and film thickness of FC3284 liquid on the surface of the condenser was determined to be the cause due to low thermal conductivity of the liquid. The average film thickness on the surface of the condenser is calculated. In addition to the performance detriment of the film, air is also shown to reduce the condenser’s performance. The height of a transient stratification line is measured and compared against condenser power. Condenser efficacy losses are large and variable based on the concentration of air in the condenser vessel. A low vs high-mounted boiler is investigated. The mounting of the boiler has an effect on how much vapor is lost during a maintenance event. Finally, a comparison of the test rig’s overall cooling efficiency is made with various air-cooled datacenters by tracking energy consumption to cool a given IT load. This also translates to a reduction in carbon emissions.
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Simon, M. A., B. D. Baird, and S. R. Gollahalli. "Characteristics of a Laminar Diffusion Flame in a Cross-Flow of Combustion Products." In ASME 2005 Power Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/pwr2005-50030.
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This study was an investigation of the characteristics of a horizontal laminar diffusion flame established from a tubular burner in a buoyant vertical flow vitiated with combustion products created by a flat flame. The effects of varying flat flame equivalence ratio on these characteristics were studied. Applications of this study include exhaust gas recirculation (EGR), staged combustion in furnaces, and afterburners in jet engines. The fuel used for both the horizontal (cross-flow flame) and the flat flame in this study was propane. For a range of flat flame burner equivalence ratio (0.6 to 0.9), measurements of cross-flow flame length, and global emissions of NO were made. The mass flow rate of propane delivered to the cross-flow flame was held constant during these measurements. The flames were photographed with a digital camera. Profiles of combustion species concentrations and temperature were taken at 25% and 50% of the cross-flow flame length for flat flame burner equivalence ratios of 0.6 and 0.8, and for a non-combustion case (air flow only) in the flat flame. It was found that increasing the flat flame burner equivalence ratio caused an increase in the length of the cross-flow flame. The maximum temperature of the cross-flow flame decreased with increasing flat flame burner equivalence ratio. The introduction of the cross-flow flame increased the NO production in a flat flame with an equivalence ratio of 0.6, but did not significantly affect the NO production in a flat flame of an equivalence ratios of 0.7 or 0.8, and reduced it (by as much as 25%) in a flat flame of equivalence ratio of 0.9. This reduction of NO production and flame temperature and increase in flame length with increasing flat flame equivalence ratio was attributed to the reduction of oxygen available to the cross-flow flame. These results were supported with the in-flame combustion species concentration profiles.