Relevant bibliographies by topics / Street photography

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Street photography'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Street photography"

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Clark, Catherine E. "The Commercial Street Photographer: The Right to the Street and the Droit à l’Image in Post-1945 France." Journal of Visual Culture 16, no. 2 (August 2017): 225–52. http://dx.doi.org/10.1177/1470412917716482.

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This article examines the history of the commercial street photographer, or photofilmeur, in France from 1945 to 1955. Although itinerant photographers had long operated, they organized as a new profession after the Second World War in response to hostile reactions from other ‘sedentary’ photographers, conservative officials, lawmakers, and the police. Tracing the fight to regulate and even ban photofilmeurs in state and police archives, courtroom accounts, and union publications, this article reveals a struggle over the who, what, and where of photography: Who has the right to photograph whom? Can you take pictures of people without their consent? What is professional photography? Answers to these questions recast the history of street photography not as an aesthetic category, as most scholarship treats it, but in terms of the medium’s engagement with the law and issues of consent, intent, copyright, privacy, and dissemination that are at the heart of 20th and 21st-century photographic history.
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KUBIE, OENONE. "Reading Lewis Hine's Photography of Child Street Labour, 1906–1918." Journal of American Studies 50, no. 4 (April 29, 2016): 873–97. http://dx.doi.org/10.1017/s002187581600058x.

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Lewis Hine's child-labour photographs are among the best-known social-documentary photographs ever taken, yet historians have neglected his photography of children working on the streets of America's cities. This paper explores the disputed symbolism of Hine's street-labour photographs. Far from simply depicting another appalling form of child labour, Hine's child street labourers, and the newsboys he photographed in particular, represented a range of ideas from masculinity and entrepreneurial spirit to the dangers of the new urban life and the apparent ignorance of immigrant parents. The symbolic newsboy was often far removed from the reality of child street labour, but he became an important figure in discourse surrounding the nature of childhood and the organization of public space in the United States of the early twentieth century. In exploring these subjects, this article takes on a neglected part of American history, yet an important one. Studying child street labourers reveals much about children, their choices, and the urban environment in the United States during the Progressive Era.
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Haran, Barnaby. "‘We Cover New York’: Protest, Neighborhood, and Street Photography in the (Workers Film and) Photo League." Arts 8, no. 2 (May 10, 2019): 61. http://dx.doi.org/10.3390/arts8020061.

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This article considers photographs of New York by two American radical groups, the revolutionary Workers Film and Photo League (WFPL) (1931–1936) and the ensuing Photo League (PL) (1936–1951), a less explicitly political concern, in relation to the adjacent historiographical contexts of street photography and documentary. I contest a historiographical tendency to invoke street photography as a recuperative model from the political basis of the groups, because such accounts tend to reduce WFPL’s work to ideologically motivated propaganda and obscure continuities between the two leagues. Using extensive primary sources, in particular the PL’s magazine Photo Notes, I propose that greater commonalities exist than the literature suggests. I argue that WFPL photographs are a specific form of street photography that engages with urban protest, and accordingly I examine the formal attributes of photographs by its principle photographer Leo Seltzer. Conversely, the PL’s ‘document’ projects, which examined areas such as Chelsea, the Lower East Side, and Harlem in depth, involved collaboration with community organizations that resulted in a form of neighborhood protest. I conclude that a museological framing of ‘street photography’ as the work of an individual artist does not satisfactorily encompass the radicalism of the PL’s complex documents about city neighborhoods.
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Mountfort, Paul. "Dérives: Street photography as post-/Situationist practice." Australasian Journal of Popular Culture 10, no. 1 (December 1, 2021): 21–38. http://dx.doi.org/10.1386/ajpc_00036_1.

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Street photography has hardly lacked for popular cultural currency, as attested by those ubiquitous black framed prints and coffee table tomes. However, it has long been a relatively marginalized genre within photography that has seen relative critical neglect even compared to other demotic forms concerned with the everyday, such as the family portrait (Bourdieu) and snapshot (Barthes). This article seeks to sketch a series of potential intersections between street photography’s antecedent, formative and breakout phases on both sides of the Atlantic and the Situationist International’s (1957‐72) embodied practices surrounding the dérive, détournement and psychogeography more generally. Arguably, remediating street photographic practice and composition in relation to these disruptive strategies can provide a kind of corrective to the more formalistic conception of the former, as exemplified in the reification of Henri Cartier-Bresson’s famous dictum of the ‘decisive moment’. I will argue that Situationist discourse helps reframe these moments of the street as ‘situations’ in the Situationist sense, lines of flight that became explicit when the development of street photography in Europe is overlaid with that of the United States, Paris with New York. Such détournement arguably brings into view vectors between street photography and revolutionary art practices often neglected in discussions of these Dérives of the street, and gestures towards ‐ at least in potentia ‐ a kind of afterlife of post-/Situationist praxis in the practices of street photographers.
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Purbasari, Sophia, and Febrika Cahyadi Sambodo. "Design of Street Photography Promotion Media in Bandung City Case Study on Bandoeng Photostreet Shooter Community in Bandung City." ArtComm : Jurnal Komunikasi dan Desain 2, no. 1 (April 29, 2019): 71–88. http://dx.doi.org/10.37278/artcomm.v2i1.163.

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Street Photography merupakan salah satu aliran dari photography, yang lebih mengutamakan subject (point of interest) di ruang publik (tempat umum). Street Photography merupakan kegiatanpositif yang mampu memberikan sebuah wawasan dan pengetahuan yang digabungkan sehinggamenghasilkan sebuah photo ruang waktu yang berdampak pada masyarakat. Street photography dapatmenjadi alternative dalam mendokumentasikan perkembangan zaman dari dahulu hingga kedepannyasebagai evaluasi untuk berkembang menjadi yang lebih baik. Dalam perancangan media promosistreet photography di kota Bandung bertujuan untuk meningkatkan minat masyarakat khususnya anakmuda kota Bandung untuk lebih tertarik dengan street photography melalui komunitas bandoengphotostreet shooter. Media yang digunakan untuk mempromosikan Street photography adalah dengandi adakan nya sebuah event yang berjudul Nyetreet di Bandung, dengan media pendukung poster,katalog dan melakukan kegiatan nyetreet bersama atau melakukan hunting photo bersama denganacara utama launching buku. Dengan di adakannya event nyetreet di Bandung di harapkan akanbertambahnya minat dan ketertarikan para photographer muda untuk lebih mendalami streetphotography.
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Rodriguez, Richard T. "On the Subject of Gang Photography." Aztlán: A Journal of Chicano Studies 25, no. 1 (2000): 109–48. http://dx.doi.org/10.1525/azt.2000.25.1.109.

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This paper examines the figure of the Chicano gangster in “gang photography, ” which represents Chicanos affiliated with street gangs in the greater Los Angeles area. Gang photography encompasses documentary photography, self-produced gang photography, as well as police photography. Moving beyond the aesthetic and personal desires by which the practice of photography is typically framed, I insist that we must come to terms with the sociopolitical forces underscoring all representations of Chicano gangs. My title refers to overlapping meanings of the subject. The subject or topic of gang photography requires an understanding of the Chicano gangster as a social subject whose subjectivity is (re)figured within and outside the realm of the photograph. Moreover, my analysis of these particular photographic practices dialogues with ethnographic discourse analysis, media studies, and contemporary cultural studies of race and ethnicity. In conclusion, the paper unsettles any smooth comprehension of photographic representations.
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Даваасүрэн, Золбоо. "Гудамжны гэрэл зураг Монголын гэрэл зургийн гол төрөл болох нь." Монгол судлал 46, no. 1 (2022): 147–55. http://dx.doi.org/10.22353/ms20224617.

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Since the development of photography in Mongolia, street photography has developed simultaneously. Nowadays, street photography is emerging strongly among the types of photography. In this study, we considered the development of world and Mongolian street photography and the definition of street photography. In this way, it is crucial to clearly show the growth of street photography, bring Mongolian street photography into the research cycle, and increase the value of street photography.
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Schwartz, Stephanie. "Street Photography Reframed." Arts 10, no. 2 (April 28, 2021): 29. http://dx.doi.org/10.3390/arts10020029.

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Majewska, Martyna Ewa. "Composting the Monument: Pope.L, Police, and the Trouble With Representation." Visual Arts Research 48, no. 1 (June 1, 2022): 102–16. http://dx.doi.org/10.5406/21518009.48.1.09.

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Abstract The ways in which we view, process, and respond to photographs of racialized policing and police brutality are conditioned by existing imagery. Yet the images we are most likely to encounter, and the ones we are therefore most accustomed to viewing, fail to account for the totality of racial injustices, violence, and oppression. Photography's ability to occlude inconvenient truths and reproduce certain power dynamics as opposed to others has been identified in numerous analyses of images documenting civil rights activism. Corroborating such findings, photographs capturing the street performances Pope.L began staging in the 1970s, particularly his numerous crawls through New York City's streets and gutters, intervene in the rehearsed, customary interpretations of civil rights photography and contemporary images of racialized policing. By regarding Pope.L's performance photographs not as mere documentary records but as a preconceived photographic project, this paper demonstrates that Pope.L's images offer an incisive commentary on representations of the civil rights struggle and the photographic construction of its icons. Together with his sculptures and mixed-media installations, such works challenge the post-racial discourse of successful completion inscribed in monuments to the leaders of the Civil Rights Movement, a discourse that has resurfaced and has been repurposed throughout recent U.S. history, up to and including the present day.
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Kusrini, Kusrini. "Fotografi Jalanan: Membingkai Kota dalam Cerita." Journal of Urban Society's Arts 3, no. 2 (October 31, 2016): 102–9. http://dx.doi.org/10.24821/jousa.v3i2.1482.

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Fotografi jalanan (street photography) menjadi sarana bagi fotografer Erik Prasetya untuk menggambarkan kota Jakarta secara visual dalam buku foto Jakarta: Estetika Banal. Di dalamnya terdapat hasil kerja fotografi selama sekitar 20 tahun yang berisi cerita tentang Jakarta. Foto-foto tersebut dicermati secara keseluruhan untuk mengetahui gambaran umum tentang Jakarta yang diusung oleh fotografer. Fotofoto tersebut dipilih sesuai dengan deskripsi umum dan dibahas lebih lanjut untuk mendapatkan cerita tentang Jakarta pada 1990-2000’an. Dalam foto-foto tersebut, Jakarta merupakan kota dengan masyarakat yang dinamis. Jalanan tidak pernah sepi dan tidak tidur meskipun di waktu malam. Bangunan, transportasi, para pekerja, mobilitas yang tinggi, menjadi bagian dari visual Jakarta, yang sekaligus menceritakan masih adanya kesenjangan ekonomi dan sosial masyarakatnya. Di dalamnya ternyata masih juga terdapat tawa dan kegembiraan. Semangat bertahan hidup di ibukota menjadi bagian yang tidak terpisahkan dari cerita tentang Jakarta. Keindahan foto terlihat dari imaji yang ditampilkan mengeksplorasi teknik manual yang disesuaikan dengan kondisi dan situasi serta cerita yang hendak disampaikan. Keindahan lain dalam fotografi jalanan karya Erik Prasetya ini terdapat dari cerita visual yang tersaji. Fotografi jalanan tidak sekadar cerita tentang jalanan secara fisik, namun juga cerita tentang masyarakat di sepanjang jalan serta perjalanan kehidupan yang dilalui fotografer. Street Photography: Framing City in Stories. Erik Prasetya is photographer who uses street photography (fotografi jalanan) to narrate visually Jakarta in a photo book titled Jakarta: Estetika Banal. There are photos of his work for 20 years about Jakarta. The photos are examined as a whole to know the general idea of Jakarta carried by the photographer. They are selected to get the general description and finally are studied further to get stories about Jakarta in late 1990-2000. In these photos, Jakarta is a city with a dynamic society. The streets are never quiet and do not sleep at night though. Building, transportation, greater mobility of workers, become parts of Jakarta visually, which also tell the persistence of economic and social discrepancy in society. However, there are laughter and exhilaration that we can find. The spirit to survive in the capital becomes an integral part of the story of Jakarta. The beauty of the photos came from the images are displayed exploring manual techniques adapted to the conditions and situations, and stories that would be submitted. Another beauty of street photography works by Erik Prasetya is that there is a visual story presented. Street photography is not just a story about the streets physically, but also stories of people found along them as well as the journey of life experienced by the photographer.
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Dissertations / Theses on the topic "Street photography"

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Vendramini, Sara <1989&gt. "La Street Photography: storia, tecniche e autori." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10430.

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Tema principale della tesi è la Street Photography. Dopo aver delineato il concetto di questo genere fotografico, ne viene tracciata la storia: si considerano vari autori che a partire dalle origini della fotografia stessa hanno contribuito al suo sviluppo e alla sua affermazione fino ad arrivare ai giorni nostri. Negli ultimi vent’anni il genere ha avuto una grande diffusione soprattutto grazie a Internet e alla nascita degli smartphone, alla creazione di collettivi di fotografi che si sono uniti con l’obbiettivo comune di promuovere il genere e a Festival internazionali e nazionali dedicati alla fotografia di strada. Viene poi analizzato il lavoro di una decina di autori affermati della Street Photography. Infine, si approfondiscono alcune tecniche e consigli legati alla pratica del movimento.
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Howe, Melissa Shih-Lin. "The Still and Moving Street: Anonymous Portraiture Derived Through a Practice of Concept-Driven Street Photography." Thesis, The University of Sydney, 2020. https://hdl.handle.net/2123/24371.

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Street photography is often considered as a genre underpinned by Henri Cartier-Bresson’s conception of the ‘decisive moment.’ Such traditional forms of practice are characterised by speed and spontaneity, involving the photographer moving through the city streets in search of moments of significance existing within the everyday. There are, however, alternative strategies employed by practitioners that entail a more sedate and systematic, process-led approach. The discussion of such practices, which deviate from the dominant discourse, has been absent from much of the existing scholarship on the genre. This thesis is centred on the investigation of unconventional forms of street photography, which I term as practices of concept-driven street photography. These approaches see the employment of parameter-based systems to determine the set of conditions used to create photographic based work within the urban context. I propose affinities in these alternative methodologies as being found in sociological led investigations into the everyday, as well as in conceptual art projects emerging in the 1960s. In recent decades the genre of street photography has expanded to incorporate the moving image, signalling a shift away from the rigidity of the still image it has been tethered to since its beginnings. This thesis investigates the circumstances that have precipitated the evolution of the genre as it progresses further into the twenty-first century. The analysis of alternative forms of street photography and its expansion to include the moving image is conducted with specific focus on the anonymous, unposed portrait image, which has featured prominently throughout the history of the genre. The creative work of this research, comprised of still and moving image outcomes, presents a new form of contemporary portraiture and representation of the street.
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Hui, Wai-hung Lawrence. "Photographic forum at Stanley Street." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25953849.

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Farrell, Evann Anne. "Killer Style: An Investigation of Rodney Alcala’s Street Style Photography." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou159792067991252.

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Worden, Roderick. "In Hiding…" ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1349.

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The conceptual foundation for my work lies in the idea of "interaction." I work towards exposing this idea in its more basic and routine form, as well as the broad scope of it. Ranging beyond the common associations made with human to human interaction, my work enters a number of realms including environmental, architectural, and intra-personal interactions, working amongst the subtleties of each. I seek to create an image of relate-able experience, thus I feel the medium of photography is necessitated, as it is rooted in the idea of documentary and realism, in effect, cataloguing images of or influenced by the outside world.
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Vestberg, Nina Elisabeth Lager. "Souvenirs of the street : the representation of Paris in French humanist photography c. 1947-1962." Thesis, Birkbeck (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436375.

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Hughes, Sabrina Lynn. "Empty Streets in the Capital of Modernity: Formation of Lieux de Mémoire in Parisian Street Photography From Daguerre to Atget." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1662.

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This study proposes the existence of lieux de mémoire in the photographs of Eugene Atget (1857-1927). My framework is based on historian Pierre Nora's definition: a lieu de mémoire is an object or idea which has become a symbolic stand-in for a community's memorial heritage. I suggest that Atget's photographs of the streets of old Paris, in concert with an empty-street aesthetic function as lieux de mémoire for their primary audience, antiquarians and professional archivists who specialized in old Paris. According to Nora's structure, identification of a lieu de mémoire requires first the establishment of a historical tradition. In the first chapter, I characterize a particular mode of photography, what I term a preservation aesthetic. I examine photographs by Louis J.M. Daguerre, Édouard Baldus, Henri Le Secq, and Charles Marville, all produced between 1839 and 1868. I propose interpretations of and reasons for photographs showing vacant Parisian streets, even after technological advancement allowed for representation by other means. My second chapter is concerned with a disruption of the established tradition, Nora's second requirement for lieu de mémoire. The focus of this chapter is twofold: since I propose that it is the preservation aesthetic partnered with the subject matter of old Paris that forms a lieu de mémoire, considering alterations in both perception of the old city and in photographic practice are necessary. First, I discuss the nostalgic views of old Paris that manifested while Baron Haussmann was remaking Paris between 1853 and 1870. The latter half of the chapter is devoted to the events of 1870-71, the Prussian siege of Paris and the Paris Commune. I argue that barricade photographs from the Commune represent a significant change in photographic practice defined by working-class individuals who made up the Commune. Finally, I examine Atget's practice and work in context of both a medieval historicist revival in the early Third Republic of France and of a popular belief that architecture could be a literal and metaphoric container for nationalist memories. I conclude with a reconsideration of Atget's preservationist and modernist audiences to support my thesis that his photographs are lieux de mémoire.
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Ivory, Andrew John. "Street photography in the Google age : written component presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1309.

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The role and position of the documentary street photographer is examined in the context of other forms of contemporary visual survey, including Google Street View. The Street View methodology is critically examined and related to the methodologies of other visual artists, including street photographers Peter Black and Robert Frank. Comparisons are drawn between the methodological restrictions imposed by Street View and those imposed by the photographers in the course of their practice. The issue of authorship is discussed and the lack of specific authorship of Street View is related to its inability to augment the viewer's personal sense of space. Wainuiomata, a suburb of Hutt City in Wellington, New Zealand, is introduced as a location for the author's research into how documentary photography might operate. The author's own phenomenological history is considered, and it is proposed that Wainuiomata may act as a mirror which reflects a sense of place derived from personal history, triggered by the visual landscape. The author's installation work The 1 p.m. Project is discussed and contextualised as a response to the author's research findings.
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Twaites, Peter. "The 'professors of Fleet Street' : Modernism and the history of news photography in Britain, 1840-1910." Thesis, Cardiff University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400310.

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Granström, Therese. "Vad är äkta mode på gatorna? : En semiotisk bildanalys av maktstrukturer inom street style fashion photography." Thesis, Södertörns högskola, Medie- och kommunikationsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37398.

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Idén om fotografigenren street style fashion photography är att den visar upp den vanliga människan, i vanliga kläder i en vardaglig kontext. Idén bakom fotografiet i sig går i samma linje om att visa upp det äkta, och i liknande stil skapades de sociala medieplattformen Instagram – för att publicera äkta bilder ”on-the-go”. Tidigare forskning visar dock på att fotografi, Instagram och street style fashion photography inte är lika vanligt och äkta som idéerna om dem. Fotografi handlar om att sätta sig själv i relation till världen och på så sätt skapas en typ av makt. Denna uppsats syftar till att blottlägga maktstrukturer i street style fashion photography bilder publicerade av influensers på plattformen Instagram. Metoden som används för att analysera materialet är Roland Barthes semiotiska denotation och konnotationsmodell, de fynd som hittas i analysen diskuteras därefter i relation till Pierre Bourdieus fältteori för att, på en relationell nivå, förstå hur maktstrukturerna placerar ut influenserna på det svenska modefältet online. Analysen visar att bilderna i materialet är högst uppstyrda och planerade, det konnoterar olika idéer om kommersiellt mode och kulturproducerat ”högmode”, lyxiga miljöer och ”vanliga” gator, allt detta i förhållande till Instagram estetik och vad som är vinnande visualiteter. De tre influenserna, vars bilder analyseras i studien, placeras i olika positioner på modefältet online men delar samtidigt på positionen som nykomlingar eftersom de kapital de visar upp skiljer sig mellan dem, samtidigt som strategierna för att ta sig an fältet är likande.
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Books on the topic "Street photography"

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Stephen, McLaren, ed. Street photography now. London: Thames & Hudson, 2010.

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Oostende, Michael van. Amsterdam street photography. Diemen: De Bookmakers, 2021.

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author, Wolf Daniel 1955, and Foster Elena Ochoa editor, eds. Street: Calle. Lonkon, UK: Ivorypress, 2014.

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Rottner, Nadja. Cardiovista: Detroit street photography. Dearborn, Michigan: UM-Dearborn Fine Arts, 2015.

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Streets: Street Photography Seattle. clickclickpix LLC, 2023.

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Jardin, Valérie. Street Photography. Routledge, 2017. http://dx.doi.org/10.4324/9781315296418.

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Scott, Clive. Street Photography. Routledge, 2020. http://dx.doi.org/10.4324/9781003103905.

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Street Photography. Blurb, 2015.

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Frances, Eduard. Street Photography. Blurb, 2014.

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Francés, Eduard. Street Photography. Blurb, 2015.

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Book chapters on the topic "Street photography"

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Gómez Cruz, Edgar. "Mobile Street Photography." In The Routledge Companion to Mobile Media Art, 324–34. New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429242816-38.

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Anderson, Joel. "An unknown street performer: theatre of photography." In Theatre & Photography, 2–15. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_1.

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Tay, Eddie. "The Cultural Logic of Street Photography and Its Practice." In Palgrave Studies in Creativity and Culture, 153–78. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-52251-2_8.

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Krase, Jerome, and Timothy Shortell. "Story-Making and Photography: The Visual Essay and Migration." In IMISCOE Research Series, 141–59. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_8.

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AbstractIt can be argued that migrants express their own agency, via spatial practices, to change the meanings of the spaces and places they occupy and use. Although they are not the most powerful agents in our glocalized world, they nevertheless sometimes consciously and more often unconsciously, compete with others to visually define their micro-worlds for themselves and, therefore, for more powerful others as well (Krase & Shortell, 2015). Of course, migrants move, but they also settle and can establish more or less permanent enclaves. As students of mid- to large-scale urban change, we focus on commercial neighborhood vernacular landscapes which we argue have the greatest visual impact on observers. As we argue here, special attention should be paid to the visible products of their settlement which are enacted in local vernacular landscapes. For example, markets, places of worship, and even the patterns of dress of people on the street can serve as powerful semiotics or “markers” of change due to migration. It must be noted at the outset that social scientist, like ordinary observers, must avoid the common tendency to essentialize these visible signs that contribute to the problem of stereotyping social groups.
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Jan Kamps, Haje. "Street Photography." In Focus On Photographing People, 96–107. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-240-81469-8.00006-6.

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"Street Photography." In Focus On Photographing People, 105–16. Routledge, 2012. http://dx.doi.org/10.4324/9780240814704-11.

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"Street Photography:." In The Critical Eye, 59–67. Intellect Books, 2019. http://dx.doi.org/10.2307/j.ctv36xvsd7.8.

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Scott, Clive. "Street Arts and Street Métiers." In Street Photography, 90–123. Routledge, 2020. http://dx.doi.org/10.4324/9781003103905-4.

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"Street Arts and Street MéTiers." In Street Photography. I.B.Tauris, 2007. http://dx.doi.org/10.5040/9780755604210.ch-003.

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Mayhew, Henry. "Street Artists." In London Labour and the London Poor. Oxford University Press, 2012. http://dx.doi.org/10.1093/owc/9780199697571.003.0021.

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Street Photography Within the last few years photographic portraits have gradually been diminishing in price, until at the present time they have become a regular article of street commerce. Those living at the west-end of London have but little idea of the number of persons...
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Conference papers on the topic "Street photography"

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Vazquez, Marynel, and Aaron Steinfeld. "An assisted photography method for street scenes." In 2011 IEEE Workshop on Applications of Computer Vision (WACV). IEEE, 2011. http://dx.doi.org/10.1109/wacv.2011.5711488.

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Mohd Muslim Tan, Ellyana, Mastura Mohd Jarit, Azlina Wati Nikmat, Ruslan Rahim, and Mohd Nagib Mohd Padil. "Therapeutic Photography: Photograph Preferences in Stress Reduction." In Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315271.

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Tribe, Selina, and Mark Leir. "The Role of Aerial Photograph Interpretation in Natural Hazard and Risk Assessment." In 2004 International Pipeline Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ipc2004-0390.

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Aerial photograph interpretation is an accurate and economical method of assessing terrain conditions and natural hazards affecting pipelines and other linear facilities. Completed in advance of vehicle and helicopter-based reconnaissance, it provides a comprehensive site overview that cannot be obtained at ground level. Aerial photograph interpretation helps construct and confirm preliminary hazard and stream-crossing inventories, understand hazard mechanisms, and estimate hazard volume and activity. Time series photo interpretation uses several sets of aerial photographs taken of the same area in different years to track changes in terrain, stream patterns and land-use over time. In addition, aerial photographs are superior navigation tools in the field. These points are illustrated using examples from pipelines in British Columbia and Alberta. This work will be of interest to managers of pipelines throughout western Canada, and to those involved with pipeline route selection through mountainous regions.
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Beckstead, Gary R. E., and Drum S. Cavers. "Stream Dynamics at Pipeline River Crossings." In 1996 1st International Pipeline Conference. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/ipc1996-1943.

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Pipeline crossings of streams, whether large or small, must consider the ability of the stream channel to scour its bed and erode its banks. Case studies are presented to illustrate the kinds of dynamic environments which must be considered in designing pipeline stream crossings. These characteristics may be determined through the use of comparative historical aerial photography and site photographs and surveys. The case studies presented as examples in this paper include gullies, bedrock-lined channels, entrenched meandering streams, multi-channel wandering streams, degrading channels, alluvial fans, and major channels affected by regulation and man-made structures. Natural hazards such as debris jams and beaver dams are also discussed. For each case study, the characteristics of the channels are described, the design approach discussed and site-specific constraints presented which affected the final design.
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Diacon, Liliana Daniela, Luminiţa Mirela Lăzărescu, Vasile Efros, and Cristian Ciubotaru. "Virtual Tourism during the Pandemic. Comparative Study between Suceava and Maramureş Counties." In International Conference Innovative Business Management & Global Entrepreneurship. LUMEN Publishing, 2020. http://dx.doi.org/10.18662/lumproc/ibmage2020/47.

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The measures taken by the states of the world to limit the disease with the Sars Cov 2 virus imposed, in the first phase of the pandemic, numerous restrictions on mobility and physical distance, a situation that significantly changed the way tourism is carried out worldwide. In this context, some typologies of tourist activities were highlighted, which before the pandemic represented only a small segment of tourist flows and economic benefits. The natural areas with dispersed tourist objectives, with low population densities, the local villages, have entered the sphere of interest of some social categories of population that access the international tourism or the urban cultural areas. Virtual tourism has gained more and more ground, the circulation of tourist information in the online environment has intensified through photos showing the behavior of tourists in the circumstances of the pandemic. The study aims to measure, through a comparative and diachronic analysis (before and during the pandemic), the perception and representation of tourism through geocoded photography and assess how the attractiveness of tourist resources in two geographical areas (Suceava County and Maramures County) has changed. Among the existing web photo distribution platforms, we analyzed the geocoded photos on the Picasaweb platform, this platform being in direct contact with the web service and Google street viewing services, popular in Romania. The research aims at analyzing the photographic appearances of the localities from the two counties, Suceava and Maramures in the period February - August 2020. Research methods used: analysis of tourist areas, statistical recording of tourist flows during the pandemic, comparison of the two regions with the intensity of tourist traffic reflected in the attached photos online, cartographic method by presenting tourist information on territorial options. In conclusion, it is observed that the hostile period of the pandemic had a positive impact on the sustainability of tourism, especially of those territories that are of great interest and became overcrowded in the same period of previous years.
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Sadwin, Lippe D. "Dynamic Stress-Strain Measurements By High Speed Streak Photography." In 18th Intl Congress on High Speed Photography and Photonics, edited by DaHeng Wang. SPIE, 1989. http://dx.doi.org/10.1117/12.969242.

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Lamberson, Leslie E., and Ares J. Rosakis. "Dynamic Optical Investigations of Hypervelocity Impact Damage." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-11740.

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Hypervelocity impact is a rising concern in spacecraft missions where man-made debris in low-earth orbit as well as micrometeroids have the potential to damage not only the structural components, but also the optical, electrical, and thermal components of a space asset. Little has been investigated regarding damage mechanisms and dynamic fracture mechanics resulting from a hypervelocity impact in-situ. Two optical techniques, the methods of photoelasticity and caustics, in conjunction with high-speed photography are used to examine stress waves from impact of unloaded plates, as well as pre-cracked and pre-loaded plates in tension. The resulting photographs are analyzed to extract information regarding stress wave interactions, crack speeds and the dynamic stress field ahead of the moving cracks.
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Lamberson, Leslie E., and Ares J. Rosakis. "Dynamic Optical Investigations of Hypervelocity Impact Damage." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-12078.

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Hypervelocity impact is a rising concern in spacecraft missions where man-made debris in low-earth orbit as well as micrometeroids have the potential to damage not only the structural components, but also the optical, electrical, and thermal components of a space asset. Little has been investigated regarding damage mechanisms and dynamic fracture mechanics resulting from a hypervelocity impact in-situ. Two optical techniques, the methods of photoelasticity and caustics, in conjunction with high-speed photography are used to examine stress waves from impact of unloaded plates, as well as pre-cracked and pre-loaded plates in tension. The resulting photographs are analyzed to extract information regarding stress wave interactions, crack speeds and the dynamic stress field ahead of the moving cracks.
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Mori, Yasuhito, and Kunihito Nagayama. "Streak recording of shock velocity history in polymers around 0.5-GPa stress region." In 24th International Congress on High-Speed Photography and Photonics, edited by Kazuyoshi Takayama, Tsutomo Saito, Harald Kleine, and Eugene V. Timofeev. SPIE, 2001. http://dx.doi.org/10.1117/12.424340.

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Montoya, Nelson I., Ismel A. Garcia, David B. Stahl, and Dennis L. Paisley. "Interferometry, streak photography, and stereo photography of laser-driven miniature flying plates." In 19th Intl Congress on High-Speed Photography and Photonics. SPIE, 1991. http://dx.doi.org/10.1117/12.47988.

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Reports on the topic "Street photography"

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Duncan. L52005 Reliable Diagnosis of SCC During Field Inspection. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), March 2003. http://dx.doi.org/10.55274/r0011252.

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Direct assessment (DA) is one method pipeline companies use to assess the extent and severity of stress corrosion cracking and other defects on their pipeline system. Successful integrity management of a pipeline is dependent, in part, on proper interpretation of the defects encountered in the DA program. The objective of this project was to prepare a document containing a compilation of types of crack-like magnetic-particle testing (MT) or visual indications found on underground transmission pipelines for the purpose of proper interpretation of their type and cause. Pipe samples containing various types of defects were inspected by means of black and MT, optically photographed, and then metallographically sectioned and photographed. The MT photographs and metallographic photomicrographs were compiled in an Access Database.
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Douglas, Gordon, and David Moore. Analyzing the Use and Impacts of Oakland Slow Streets and Potential Scalability Beyond Covid-19. Mineta Transportation Institute, July 2022. http://dx.doi.org/10.31979/mti.2021.2152.

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This report presents the results of a mixed-methods study of the 2020-2022 Oakland Slow Streets program. An official response to the Covid-19 pandemic, the program used signs and temporary barricades to limit thru-traffic on 21 miles of city streets to create more and safer space for walking, cycling, and outdoor recreation. Researchers collected data throughout the summer of 2021 on seven designated slow streets plus one cross street and one control street for each – a total of 21 street segments representing conditions in seven different neighborhoods across Oakland. Data collection comprised in-person passerby counts, observations and photographs of local conditions, and logged traffic speed data. Findings vary widely across study sites. In certain cases, observed slow streets saw less car traffic or more bicycle/pedestrian use than one or both of their comparison streets, and in at least one case the slow street was clearly embraced by the local community and used as planners intended; in others the slow street was no different than neighboring streets. The study draws on these findings to identify local conditions that seem likely to make slow treet treatments more or less successful. However, acknowledging that all neighborhoods deserve safer streets and greater outdoor recreational opportunities, the authors argue that better community outreach must be implemented to ensure areas not predisposed to make full use of slow streets can have the opportunity to do so. The study also makes suggestions regarding the potential for rapid, low-cost bike and pedestrian street safety improvements going forward.
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Douglas, Gordon, and David Moore. Analyzing the Use and Impacts of Oakland Slow Streets and Potential Scalability Beyond Covid-19. Mineta Transportation Institute, July 2022. http://dx.doi.org/10.31979/mti.2022.2152.

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This report presents the results of a mixed-methods study of the 2020-2022 Oakland Slow Streets program. An official response to the Covid-19 pandemic, the program used signs and temporary barricades to limit thru-traffic on 21 miles of city streets to create more and safer space for walking, cycling, and outdoor recreation. Researchers collected data throughout the summer of 2021 on seven designated slow streets plus one cross street and one control street for each – a total of 21 street segments representing conditions in seven different neighborhoods across Oakland. Data collection comprised in-person passerby counts, observations and photographs of local conditions, and logged traffic speed data. Findings vary widely across study sites. In certain cases, observed slow streets saw less car traffic or more bicycle/pedestrian use than one or both of their comparison streets, and in at least one case the slow street was clearly embraced by the local community and used as planners intended; in others the slow street was no different than neighboring streets. The study draws on these findings to identify local conditions that seem likely to make slow treet treatments more or less successful. However, acknowledging that all neighborhoods deserve safer streets and greater outdoor recreational opportunities, the authors argue that better community outreach must be implemented to ensure areas not predisposed to make full use of slow streets can have the opportunity to do so. The study also makes suggestions regarding the potential for rapid, low-cost bike and pedestrian street safety improvements going forward.
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Jonasson, I. R., E. M. Hillary, D. Kliza-Petelle, and R. E. Bretzlaff. Ore mineral collections at the GSC: a short history, with digital and photographic index for part of the Booth Street Collection. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2015. http://dx.doi.org/10.4095/296399.

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Parrott, D. R. Cruise Hart 2004010, geophysical and photographic surveys in the Strait of Canso, NS, 27 April - 14 May 2004. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2010. http://dx.doi.org/10.4095/261576.

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Shelley, John, Christopher Haring, and Nathan Chrisman. Evaluation of cedar tree revetments for bank stabilization at the Locust Creek Conservation Area, Missouri : quantifying bank erosion volumes from preproject to postfailure. Engineer Research and Development Center (U.S.), December 2022. http://dx.doi.org/10.21079/11681/46144.

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The US Army Corps of Engineers Regional Sediment Management (RSM) program funded research to assess the longevity and effectiveness of cedar tree revetments for sediment reduction. Between 1988 and 1997, the Missouri Department of Conservation (MDC) constructed multiple cedar tree revetments, plantings, and a grade-control structure at an experimental stream management area on Locust Creek within the Locust Creek Conservation Area (LCCA). For the first few years, MDC also replaced missing trees as needed. MDC monitored these sites with photographs and cross sections until 2004. This study evaluated bank stability on Locust Creek from 1970 to 2019 using aerial imagery, lidar, ground surveys, and a December 2019 site visit to estimate the areal change in streambanks and the volume of sediment eroded over the years. Based on their dates of construction, the project compared preproject, with-project, and postfailure conditions at each site. The project included cedar tree revetments, other hardwood revetments, plantings, and a grade-control structure. This research found a 50% to 64% reduction in erosion for approximately 14 years. As of December 2019, all tree revetments had failed, and banks were bare and steep. The grade-control structure remained intact and continued to stabilize bed and banks immediately upstream.
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Bank Premises Department - Melbourne - 367 Collins Street - Construction Photographs - 1922. Reserve Bank of Australia, March 2022. http://dx.doi.org/10.47688/rba_archives_2006/24301.

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Melbourne Project - December 1961-September 1966 - Photograph of building taken from corner of Collins and Exhibition Streets - 13 July 1965. Reserve Bank of Australia, March 2023. http://dx.doi.org/10.47688/rba_archives_pn-011812.

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Premises - Head Office - Cnr Pitt Street & Martin Place - Opening Day - photograph of a cartoon featuring the Federal Treasurer, Andrew Fisher and the Governor, Denison Miller - 1912. Reserve Bank of Australia, September 2021. http://dx.doi.org/10.47688/rba_archives_pn-007080.

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