Relevant bibliographies by topics / Technical Photography

Academic literature on the topic 'Technical Photography'

Author: Grafiati
Published: 19 August 2021
Last updated: 8 February 2022

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Contents

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

Journal articles on the topic "Technical Photography":

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

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Photography is an “informative tool” to evaluate the diagnosis, make the proper treatment plan, document cases, communicate with the dental technician and other specialties for a multidisciplinary approach. These all can be achieved by only a good photograph with illumination, sharpness, and proper color contrast. This article emphasizes on photography and technical aspects which are required to understand photography in the field of dentistry. By using accessories like photographic mirror, contrastors and retractors, we can record the details of a targeted area. The advances in techniques of photography gives good results provided one understands the complexity of the camera-system.
2

Wilson, Dawn M. "Invisible Images and Indeterminacy: Why We Need a Multi-stage Account of Photography." Journal of Aesthetics and Art Criticism 79, no. 2 (April 19, 2021): 161–74. http://dx.doi.org/10.1093/jaac/kpab005.

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Abstract Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography.
3

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

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Photographic art is a mediator to convey visual communication messages to the public about a thing or event. Photos can be interpreted as expressions or ways of speaking, telling through visual language. The selection of the exact object, accuracy of the exact moment, accurate angle, advanced exposure of the light, and the beautiful color composition make photography look attractive, thus making the audience of photography immersed in the role created by the photographer using photographical object. Photographic works published on web-page macroworldmania.com are mostly, macro photography works, exploring macro world surround human life. Macro photo objects could reflect on to photographs of small animals, insects, plants or other small objects, which at first were not visible to the naked eyes. Not just technical, in the macro photography work that is displayed on the webpage, but those photographs also contained innovative messages with narrative stories and sparks of the dramatization that are conveyed, so that they appear more attractive. The demonstration of messages or narratives in this story becomes the essence of visual communication in macro photography. The dramatization displayed in the macro photography works on this page is able to provide an image of an animal or plant object or a small object, not only becoming bigger and easier to see, but also full of surprises, attracting attention and arousing curiosity. Dramatization arises if the object image has a point of interest (POI) and attention is always maintained so that the work created is able to drown the soul, emotions and thoughts of the audience. Dramatic elements built with the innovations of macro photography story messages are able to seize the attention and bring an atmosphere of high-quality communication in reference to the knowledge and experience of the audience. The challenges of these innovations are the main study of this research, so that the art of macro photography can still exist to communicate in the digital era marked by abundance of information (disruptive information).
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Blade, Richard A. "Stereographic Photography on the Computer." International Journal of Virtual Reality 1, no. 2 (January 1, 1995): 40–42. http://dx.doi.org/10.20870/ijvr.1995.1.2.2605.

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The author provides a semi-technical review of the principles of stereographic photography usable without special equipment and discusses the current methods of viewing stereo photographs as computer images. Included is a discussion of recently developed commercial software called Wireframe Express that allows two or more photographic images of an object, taken at different but arbitrary positions, to be joined into a composite 3D model for stereographic viewing from any angle. Among other things, this recent technology allows the virtual reality simulation of historic buildings and rooms to be constructed from currently existing photographs. Illustrations of the points are made with images provided on the CD-ROM.
5

Burleigh, Peter. "Photogenic Intensions." Magic, Vol. 5, no. 1 (2020): 60–65. http://dx.doi.org/10.47659/m8.060.art.

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What is a photograph? What a spurious, redundant start! After all, a photograph is clearly an image, a technical image of something. What a photograph is – such a stupid question! Yet, the casual announcement of the photograph as signification relies on an a priori truth that orients our thinking, our identities, our institutions. For it is “in terms of this self-apparent image of thought that everybody knows and is presumed to know what it means to think.” Collaging Deleuze and Bergson, intuition teaches us that an image is a nexus of force in itself, or as Anne Sauvagnargues suggests, what is crucial to images is how they cut into the world. As real enfoldings of the virtual and actual, photographs are the territories of a multiplicity of sensations – a genesis, the real actual of a diagrammatic structuring of the world in registers of time and space. Roger Fenton’s The Queen’s Target made at Queen Victoria’s opening of the first Rifle Association in 1860 is an entry point to thinking deeper signalisation in photographs. While the 3-D work by Andreas Angelidakis indicates photogenetic zones of intensity, temporal dislodgment, and the event of photogenesis actualized in physical form. Keywords: photogenesis, virtual, photography and event, ontology of the image, photography and information, philosophy of photography
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Wirawan, I. Komang Arba. "Tenganan Pegringsingan Bali In Ethnography." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2, no. 2 (November 19, 2019): 88–92. http://dx.doi.org/10.31091/lekesan.v2i2.895.

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The purpose of this study is to create photos that visualize the activities of the Tenganan Pegringsingan community based on Tri Hita Karana’s cause of happiness to achieve balance and harmony. First, Parahyangan is a balanced relationship between humans and God, second, Pawongan a harmonious relationship between humans and humans, and thirdly Palemahan means a harmonious relationship between humans and the surrounding natural environment. This research and photography creation method was in the form of in-depth data exploration (depth observations) in the form of interviews and observations. Art and cultural activities and ceremonies in Pegringsingan Village were explored through in-depth research and presented with the concept of ethnophotography. Ethnography does not see a photograph of the work alone, but it is an ethnographic method of viewing society from an anthropological perspective. The anthropological world of photography emphasizes the extraordinary side of conventional things. The harmony of life-based on Tri Hita Karana was reflected in the Tenganan Pegringsingan community as the subject matter of ethnographic creation. Ethnographic results and analysis in Tenganan Village were dissected with the aesthetic theory of photography. First, the aesthetic of photography created through the beauty of photographs based on an ideational and technical level. It was the ethnographic ideational level of upakara in Tenganan Pegringsingan Village. The technical level was related to technical concerning the equipment used for creation. The second theory of semiotic photography analyzed photographs based on the signs contained in the photo. The results of the ethnographic creation of the community in Tenganan Pegringsingan Village found a harmonious relationship between the community and nature, humans and God in the village. This relationship is the subject of representative ethnophotography. The results of ethnographic creation reflect harmonious relationships through the implemented ceremonies that reflect Tri Hita Karana.
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&NA;. "Technical Points on Wound Photography." Advances in Skin & Wound Care 24, no. 7 (July 2011): 298. http://dx.doi.org/10.1097/01.asw.0000399643.57339.1b.

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Kukielko-Rogozinska, Kalina. "Twelve Insights into the Afghanistan War through the Photographs from the Basetrack Project: Rita Leistner’s iProbes and Marshall McLuhan’s Theory of Media." Arts 10, no. 2 (April 22, 2021): 27. http://dx.doi.org/10.3390/arts10020027.

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This article presents the iProbe concept developed by the Canadian photographer Rita Leistner. This analytical tool is one of the ways to present the image of modern warfare that emerges from messages in social media and photographs taken using smartphones. Utilized to understand the approach are photographs Leistner took at the American military base in Musa Qala (Helmand province, Afghanistan) during the implementation of the “Basetrack” media project in 2011. The theoretical basis for this study is Marshall McLuhan’s media theory, which was used by the photographer to interpret her works from Afghanistan. Leistner is the first to apply the various concepts shaped by McLuhan in the second half of 20th century, such as “probe”, “extension of man”, and the “figure/ground” dichotomy, to analyze war photography. Her blog and book entitled Looking for Marshall McLuhan in Afghanistan shows the potential of using McLuhan’s concepts to interpret the image of modern warfare presented in the contemporary media. The application of McLuhan’s theory to this type of photographic analysis provides the opportunity to focus on the technological dimension of modern war and to look at warfare from a technical perspective such as what devices and communication solutions are used to solve armed conflicts as efficiently and bloodlessly as possible. Therefore, this article briefly presents twelve iProbes that Leistner created based on her experiences from working in Afghanistan concerning photography, military equipment, interpersonal relations, and various types of communication.
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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.

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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
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Dahlgren, Anna. "Photography Reframed." Culture Unbound 8, no. 1 (April 12, 2016): 3–19. http://dx.doi.org/10.3384/cu.2000.1525.16813.

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This article discusses the benefits of analysing photography as mediated, reproduced and entangled in media systems, and consequently as part of a larger media culture. Moreover it combines technological considerations drawn from media archaeology with art historical analysis focusing on visual aesthetics. It considers two mediating devices for photography in the nineteenth century, the photo album and the illustrated press. As displayed, a media historical perspective airs new interpretations and understandings of processes and practices in relation to photography in the period. Thus what from a photo historical point of view might appear as an important, paradigmatic invention or a critical technical delimitation might from a media historical perspective seem to have been merely a small adjustment in a chain of gradual improvements and experiments in the dissemination and consumption of images. Thus photographic media specificity delimited by technical procedures and certain materials outputs, which was so strongly emphasized in the twentieth century, was evidently not fixed to materiality and rather opened and negotiated in the nineteenth century. Accordingly, responsiveness to the literal and figurative framing of photography as mediated, discloses other photo histories.
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You might also be interested in the extended bibliographies on the topic 'Technical Photography' for particular source types:
Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Technical Photography":

1

Meyer, Eric T. "Socio-technical perspectives on digital photography scientific digital photography use by marine mammal researchers /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3278467.

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Thesis (Ph.D.)--Indiana University, School of Information Science, 2007.
Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4119. Adviser: Howard Rosenbaum. Title from dissertation home page (viewed May 19, 2008).
2

Brunetti, Tina Marie. "The effect of observer involvement on subjective judgments of technical, emotional, and overall quality of photographic prints." Diss., This resource online, 1995. http://scholar.lib.vt.edu/theses/available/etd-06062008-162326/.

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Martin-Rainaud, Claude. "Dans le regard de la chambre." Thesis, Avignon, 2015. http://www.theses.fr/2015AVIG1143/document.

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Par un trou, l’image renversée de ce qui se trouve à l’extérieur se projette à l’intérieur d’une chambre obscure. Ce phénomène, à l’oeuvre en permanence dans les espaces naturellement sombres, dans les yeux de l’homme et de la plupart des animaux, occasionnellement à l’intérieur de l’habitation, est aussi le principe à la base de la photographie et du cinéma. Ce problème d’optique a été observé et décrit pour la première fois en Europe dans les Problemata d’Aristote. Au cours des siècles, ce principe du «phénomène de la camera obscura» a été étudié et utilisé pour mesurer le temps et l’espace, effectuer des observations et des expériences astronomiques, produire des images ou des spectacles. Ces dernières décennies, les sciences ont démontré que pour prendre vie, se reproduire et évoluer, la matière s’est emparée progressivement de ce phénomène issu de la lumière. À travers la vision, il a un rôle premier dans notre perception du monde et notre conscience d’être. Cependant, rares sont les études de ses caractéristiques et de ses applications naturelles, techniques et esthétiques. Notre recherche voudrait contribuer à faire émerger une cohérence globale dans ces domaines. La méthode utilisée ici repose sur une pratique artistique de la capture photographique dans la camera obscura elle-même des images qui y apparaissent. En outre, cette pratique s’appuie sur une approche analytique fondée sur un choix de sources philosophiques, scientifiques et romanesques, poétiques et cinématographiques. Nous suivons d’abord à travers ces documents la genèse des objets techniques qui se rattachent au phénomène de la camera obscura. Puis la recherche se focalise sur certains artistes qui sont présumés avoir fait usage, ou qui ont effectivement employé des appareils «optiques» pour réaliser leurs oeuvres depuis le quinzième siècle. Nous concluons sur la démarche et l’oeuvre de certains photographes contemporains qui se consacrent à photographier le phénomène de la camera obscura, dont les travaux ouvrent à l’art de la photographie des perspectives inédites, tout en se référant à des questions picturales fondamentales
Through a hole, the inverted image of what is outside, is projected inside a dark room. This phenomenon,constantly at work in naturally sombre closed spaces, in the eyes of humans and most animals, occasionallyinside habitations, is also the optical principle that made photography and motion pictures possible. This opticalproblem was observed and described for the first time in Europe by Aristotle in his Problemata. Then, over thecenturies, this “camera obscura phenomenon” was studied and used to measure time and space, makeastronomical observations and experiments, produce images or theatrical performances. In the last few decades,science has demonstrated that for matter to come to life, breed and evolve, it has gradually taken hold of thisphenomenon produced by light. Through vision it plays a fundamental role in our intimate perception of theworld and our self-consciousness. However, few academic studies address its natural, technical as well asaesthetic characteristics. This research will try to bring forth a global coherence in this field. The method that weuse is founded on our artistic practice of the photographic capture of the images as they appear inside thecamera obscura. In addition, this practice is also based on an analytical approach founded on a range ofphilosophical, scientific and fictional sources including poetry and movies. We follow through these documentsthe genesis of the technical objects related to the camera obscura phenomenon. Then, our research focuses onsome artists alleged to have, or have actually utilized "optical" devices to perform their works of arts since thefifteenth century. We conclude with the approach and practice of some contemporary photographers committedto photographing the camera obscura phenomenon, whose works of arts open new perspectives forphotographic art, yet still refer to fundamental questions about art
4

Dudragne, Julie. "Desseins polymorphes, une approche poétique de la lumière : dessiner la lumière." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010565.

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La narration d'une pratique s'ébauche parfois par la présence d'une simple lettre, comme un humble point dévoile l'existence d'une ligne. Le "e" réapparaît au sein du dessin, le pare d'une multiplicité de significations, lui donne le poids perdu ou jamais acquis d'une esquisse autonome.La tradition du dessein se questionne par le biais d'un phénomène, dessiner la lumière, à l'heure d'une reproductibilité technique exacerbée.Le chemin sinueux emprunté par le dessin le mène au franchissement de frontière pléthorique, annonçant sa transversalité. Le mouvement immanent à la matière utilisée et l'hybridation comme notion intrinsèque à la création actuelle, toujours au service de l'élément graphique, vont faire opérer au dessin de nombreux déplacements intra et interdisciplinaires - conviant origines, idées, concepts et procédés techniques - mais aussi physiques. La réalisation de la lumière produite par l'expérience graphique, ses passages entre visible et non visible, se retrouve dans le signe et dans l'indice photographique et interroge la perception. La recherche de luminosité et de contraste, souvent traduites par la présence de noirs et de blancs, offre à l'espace plastique une palette infinie de possibles variations.Cette potentialité exhaustive requiert l'ultième acte du processus créatif, le choix, façonnant la mise en espace de la lumière en de multiples compositions graphiques.Le jeu, la phantasia et la poétique du phénomène lumineux, malgré l'évolution des procédés techniques employés, préservent la confidence qui confère au dessin se caractère intime dans lequel se silhouette un onirisme, une manière de résister. Travailler la lumière aujourd'hui dans le secret d'un acte aveugle, aveuglé, aveuglant, problématise la notion d'authenticité induisant un rapport à l'aura toujours en valse-hésitation entre apparition et disparition face à sa perte auparavant annoncée
The narrative outline of a practice is sometimes sketched by the presence of a simple letter, like a humble dot can reveal the existence of a line.The "e" appears again in the drawing, adorns it with a multiplicity of meanings, giving it the weight never acquired of an autonomous sketch. (There is distinction in French language between the words "dessein" and "dessin" which one I play). At a time of heightened technical reproducibility and through a phenomenon - drawing the Light - the ambition and its tradition question themselves.The Drawing, on a sinuous path, crosses some excessive borders/frontiers, announcing his "transversality". The movement immanent to the material used and the hybridization as an intrinsic concept of the actual creative process, always at the service of the graphic element, will push the Drawing in many directions within and across disciplines - inviting origins, ideas, technical concepts and processes - but also physical. The light produced by the graphic experience, movements between visible and invisible, can be found not only in the sign but also in the photographic index and questions our perception.The research forn brightness and contrast in shades, often with black and white tons, gives an infinite range of potential variations to the creative/esthetic space/arena. This exhaustive potential is threatened by the ultimate act of creativity : the choice, shaping the spatial dispositions of light into multiple graphic compositions.Despite certain technical processes and their evolution, play, phantasy and light phenomenon' poetics protecting the Drawing' secret : an intimate characteristic in which onirism, as a wayto resist, appears. Working with light today - in a secret of a blind act, blinded, blinding - questions the Authenticity as a concept, creating an uneasy relationship to the aura, always between appearance and disappearance facing its previously announced loss
5

Le, Roux Salome. "A technical survey of Lucky Madlo Sibiya’s (1942 – 1999) materials and techniques employed in his carved and painted wood panel artworks." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78370.

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The study aims to achieve an understanding of the artist’s materials and techniques used by Lucky Madlo Sibiya when he created his carved and painted wood panel artworks. A survey of the artist’s materials and techniques is of great importance, because he is represented in multiple institutional, corporate and private collections – including the University of Pretoria. His carved and painted wood panel artworks are also reaching an age (at least 20 years old, as 2019 is the twentieth anniversary of his death) when they would soon require conservation and restoration, if not stored and displayed according to sound conservation conditions and standards. For best-practice conservation and restoration, in-depth knowledge of the materiality of an artwork is needed. In order to reach an in-depth knowledge of the materiality of Sibiya’s carved and painted wood panel artworks, the survey intends to examine and document through the combination of various historical, visual and analytical techniques artworks with unrefuted provenance. The analytical techniques used are popular in heritage conservation, because they are non-invasive and non-destructive. They include provenance studies, visual examination, technical photography, X-ray Fluorescence and Fourier-transform Infrared Spectroscopy. In combination, the techniques should reveal the materials and techniques Sibiya employed. This knowledge will be used to safeguard and preserve this part of South African art heritage.
Mini Dissertation (MSocSci)--University of Pretoria, 2020.
Tangible Heritage Conservation
MSocSci (Tangible Heritage Conservation)
Unrestricted
6

Polidoro, Bruno Bortoluz. "Sobre a luz e as potências do escuro na fotografia: imagens técnicas de alcova no cinema." Universidade do Vale do Rio do Sinos, 2009. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2640.

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Made available in DSpace on 2015-03-05T18:25:03Z (GMT). No. of bitstreams: 0 Previous issue date: 2
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Esta dissertação está inserida na linha de pesquisa Mídias e Processos Audiovisuais, e tem como objetivo geral discutir a fotografia – e a luz, em especial – como atualização do escuro em audiovisuais. A fundamentação teórica é construída principalmente a partir de conceitos propostos por Vilém Flusser, Henri Bergson, Gilles Deleuze, Jacques Aumont e Jean-Paul Sartre. Com foco no cinema, a análise é feita em filmes nos quais aparecem cenas de sexo; aponta nessas imagens técnicas a intervenção da fotografia na formulação dos conceitos fílmicos; e esboça alguns jogos de claros e escuros criados por uma luz líquida. A metodologia combinou rizomaticamente a desconstrução, a cartografia e a dissecação, e permitiu autenticar molduras intrínsecas à iluminação e à construção fotográfica de imagens de alcova.
The present thesis is inserted in the Media and Audiovisual Processes research line, and its general objective is to discuss photography – and light, especially – as an update of the dark in audiovisuals. The theoretical basis is built mainly from concepts proposed by Vilém Flusser, Henri Bergson, Gilles Deleuze, Jacques Aumont and Jean-Paul Sartre. Focusing on cinema, the analysis is made of movies in which there are sex scenes; points out in these technical images the interference of photography in the formulation of filmic concepts; and outlines some games from lights and shadows created by a liquid light. The methodology rizomatically combined the deconstruction, the cartography and the dissection, and made the authentication of framings intrinsic to the lighting and to the alcove photographic images construction possible.
7

Costa, Manuel da. "A subjetividade das formigas : uma abordagem pragmática do uso artístico da eletrongrafia na representação de mundos ocultos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/10831.

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Dando continuidade a uma pesquisa estética iniciada em 1991, este projeto de pesquisa em arte propõe a realização da série FORMIGAS, e o texto desta dissertação trata das relações entre a ética e a estética que essa obra estabelece ao longo dos quatro anos de duração do seu processo instaurador. No decorrer desse período, uma primeira versão dessa mesma série, composta por uma seqüência de nove eletrongrafias de caras de formigas de várias espécies, gerou um impasse ético que a presente versão, composta por uma seqüência de quinze eletrongrafias de caras de formigas do gênero acromyrmex, propõe discutir e contornar.
The current paper is a research project in art that discusses the relation between the ethics and the aesthetics brought about by the making of the ANT series. It is part of an aesthetic investigation initiated in 1991 and the series instauration process has taken four years. A first version of the series was composed by a sequence of nine electrongraphs of ant faces of several species, and the second version is composed by fifteen electrongraphs of ant faces of the genus acromyrmex. The first version raised an ethical dilemma which the second one and this paper are meant to discuss and resolve.
8

Yang, Tian. "Large Format Photography in the Digital Era." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391670.

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Large format photography refers to the photographic practice that utilizes a large light sensitive surface to capture photographs. As of 2018, large format photography is still a subset of analog photography. The digital revolution brings us into the digital era. Manufacturers and businesses in the photography industry is forced to adapt the transition from analog to digital in order to survive and succeed in the new market. Meanwhile, photography theorists find themselves facing a new set of issues because the photographs have become immediate and immaterial. While camera manufacturers have in effect accelerated the analog-to-digital transition with their proactive business strategies and relentless marketing campaigns, higher education has become the last bastion for the analog where large format camera classes teach students the tradition of photography and how to see the world contemplatively.
9

Steele, Michael. "An evaluation of photographic still image functionality with particular reference to image quality and viewer attributes in a higher education learning context : a practitioner's perspective." Thesis, Robert Gordon University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311795.

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Novotný, Václav. "Analýza dokumentace skutečných poškození vozidel při dopravních nehodách." Master's thesis, Vysoké učení technické v Brně. Ústav soudního inženýrství, 2010. http://www.nusl.cz/ntk/nusl-232493.

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This diploma thesis deals with a comprehensive analysis of the photographic documentation of vehicle damage in traffic accidents. A systematic overview of the current documentation and included inspection is carried out in the analysis. Police records are compared with records made during the crash tests. Further, the documentation in this thesis is divided into two groups of conflicts. The representative of the accidents are described in detail and then evaluated. Similarly, this procedure is practiced on other car accident that reflect the mutual deformation. The result of this thesis is to determine the optimal location of the lens for the acquisition of documentation and establishing a baseline number of photos to document damage to the vehicle after the traffic accident.
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Books on the topic "Technical Photography":

1

Tucker, Charles Lee. Industrial and technical photography. Englewood Cliffs, N.J: Prentice Hall, 1989.

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Tucker, Charles Lee. Industrial and technical photography. Englewood Cliffs, N.J: Prentice Hall, 1989.

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Flusser, Vilém. Into the universe of technical images. Minneapolis: University of Minnesota Press, 2011.

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Flusser, Vilém. Into the universe of technical images. Minneapolis: University of Minnesota Press, 2011.

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Baldwin, Gordon. Looking at photographs: A guide to technical terms. Malibu: J. Paul Getty Museum in association with British Museum Press, 1991.

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Baldwin, Gordon. Looking at photographs: A guide to technical terms. Malibu, Calif: J. Paul Getty Museum in association with British Museum Press, 1991.

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Baldwin, Gordon. Looking at photographs: A guide to technical terms. 2nd ed. Los Angeles, Calif: J. Paul Getty Museum, 2009.

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Green, Jeremy N. Maritime archaeology: A technical handbook. 2nd ed. Amsterdam: Elsevier/Academic Press, 2004.

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Green, Jeremy N. Maritime archaeology: A technical handbook. London: Academic Press, 1990.

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Forss, George. The way we were: Book images, anecdotes, technical information, and history data. United States]: XLibris LLC, 2014.

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Book chapters on the topic "Technical Photography":

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Loeb, Arthur L. "Coda: Unwrapping the Cube: A Photographic Essay (With technical assistance of C. Todd Stuart and photography by Bruce Anderson)." In Space Structures, 147–62. Boston, MA: Birkhäuser Boston, 1991. http://dx.doi.org/10.1007/978-1-4612-0437-4_19.

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Maschner, Herbert D. G., Víctor Manuel López-Menchero Bendicho, Miguel Ángel Hervás Herrera, Jeffrey Du Vernay, Aurelia Lureau, and James Bart McLeod. "At the Intersection of Art, Architecture and Archaeology: 3D Virtualization and Contemporary Heritage." In Proceedings e report, 34–40. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.08.

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We are at a global transition where disciplines from art to computer engineering intersect in the realm of global digital heritage. This has been facilitated by the development of desktop high-speed computing, inexpensive photogrammetry software, and digital photography. These technologies, and the tools to make them useful both in the lab and on the web, require the appropriate integration of technical skill, artistic license, archaeological background knowledge, and architectural realities.
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Launay, Françoise. "Janssen, the Photographic Technician." In The Astronomer Jules Janssen, 109–21. New York, NY: Springer New York, 2011. http://dx.doi.org/10.1007/978-1-4614-0697-6_9.

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Hegyi, Dezső, István Sajtos, and György Sándor. "Long-Term Strain Measuring of Technical Textiles by Photographic Method." In Materials Science Forum, 381–88. Stafa: Trans Tech Publications Ltd., 2007. http://dx.doi.org/10.4028/0-87849-426-x.381.

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Burns, Maureen, and Andreas Knab. "Instant Architecture: Hosted Access to the Archivision Research Library with Built-In Image Management & Presentation Tools." In Proceedings e report, 150–57. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.38.

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The Archivision Research Library is a collection of 100,000 digital images of art and architecture professionally photographed by a trained architect. It documents the built environment--from ancient monuments to cutting-edge contemporary constructions--with extensive, standardized descriptive metadata. Archivision is accessible for research and teaching through a web-based application--a dedicated hosted instance of MDID--with vrcHost LLC delivering full services and technical support: installation, integration, and maintenance. This combination provides not only instant access to Archivision, but also to sophisticated tools for managing images using an open source media management system to discover, aggregate, study, and present digital media.
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KINSMAN, T. "Technical Photography." In The Focal Encyclopedia of Photography, 620–22. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80740-9.50133-1.

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"Photographs: technical information." In Basics Architectural Photography, 75–77. Birkhäuser, 2017. http://dx.doi.org/10.1515/9783035612769-012.

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"Films – types and technical data." In Advanced Photography, 101–23. Routledge, 1998. http://dx.doi.org/10.4324/9780080498812-10.

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"Technical Concerns." In Outdoor Action and Adventure Photography, 67–128. Routledge, 2015. http://dx.doi.org/10.4324/9781315832647-3.

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Präkel, David. "Technical considerations." In The Fundamentals of Creative Photography, 22–24. Routledge, 2021. http://dx.doi.org/10.4324/9781003103943-4.

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Conference papers on the topic "Technical Photography":

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Trumpy, Giorgio, and Rudolf Gschwind. "Computational Photography for Dust and Scratch Detection on Transparent Photographic Material." In SMPTE Technical Conference. IEEE, 2012. http://dx.doi.org/10.5594/m001457.

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Vernon, Kris, David Hann, and Tim Rice. "Pulsed LED Photography for Coarse Water Characterisation." In ASME Turbo Expo 2014: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/gt2014-25401.

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An optical photography probe employing pulsed LED illumination has been developed for application to coarse water measurement in wet steam. High image resolution (1.38μm/px) and low exposure time (100ns) photographs capture details of micro-dynamic flow features with reduced motion blur. Camera and lens are held inside a 50mm O.D. cylindrical tube, with a custom designed titanium probe head allowing purging air to clear the front optical surface of stagnant liquid. Double exposure images are analyzed using standard image processing techniques to extract the size and velocity of liquid droplets. The accuracy and repeatability of the measurement probe has been verified on air-water sprays with direct comparison to Phase-Doppler Anemometry measurements, which show good agreement.
3

Poungto, Pakornsit, and Chawan Koopipat. "Development of dual camera system for technical photography." In Thirteenth International Conference on Digital Image Processing, edited by Xudong Jiang and Hiroshi Fujita. SPIE, 2021. http://dx.doi.org/10.1117/12.2601079.

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Gustafson, Glen C., Franz Leberl, and Erwin Kienegger. "Measuring From Long Range Oblique Photography (LOROP)." In 30th Annual Technical Symposium, edited by Paul A. Henkel and Francis R. LaGesse. SPIE, 1987. http://dx.doi.org/10.1117/12.936770.

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Slater, Howard A. "Reduction Of Temperature Rise In High-Speed Photography." In 31st Annual Technical Symposium, edited by Howard C. Johnson. SPIE, 1988. http://dx.doi.org/10.1117/12.942216.

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McLean, E. A., B. H. Ripin, J. A. Stamper, C. K. Manka, and T. A. Peyser. "Nanosecond Framing Photography For Laser-Produced Interstreaming Plasmas." In 32nd Annual Technical Symposium, edited by Gary L. Stradling. SPIE, 1989. http://dx.doi.org/10.1117/12.948671.

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Betensky, Ellis. "The Modern Zoom Lens For 35 Millimeter Photography." In 1985 Los Angeles Technical Symposium, edited by Robert E. Fischer and Warren J. Smith. SPIE, 1985. http://dx.doi.org/10.1117/12.946515.

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Han-Hong, Zhang, Wei Yong, and Hu Xiao-Jun. "Measurement Of Dynamic Strain By High Speed Moire Photography." In 29th Annual Technical Symposium, edited by Howard C. Johnson and Bernard G. Ponseggi. SPIE, 1986. http://dx.doi.org/10.1117/12.949859.

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Gregory, G. G., P. A. Jaanimagi, P. W. McKenty, S. A. Letzring, and M. C. Richardson. "Precision Alignment Technique For Time-Resolved X-Ray Photography." In 31st Annual Technical Symposium, edited by Howard C. Johnson. SPIE, 1988. http://dx.doi.org/10.1117/12.942256.

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Greer, Jerry D. "Space Shuttle Large Format Camera Photography And Resource Management." In 31st Annual Technical Symposium, edited by Paul A. Henkel, Francis R. LaGesse, and Wayne W. Schurter. SPIE, 1988. http://dx.doi.org/10.1117/12.942259.

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Reports on the topic "Technical Photography":

1

Kopp, Gregory A., David Sills, Emilio S. Hong, and Joanne Kennell. Northern Tornadoes Project. Northern Tornadoes Flyover Project: Summary Technical Report of the Year 1 Pilot Study. Western Libraries, Western University, January 2018. http://dx.doi.org/10.5206/ntpr181.

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12 January 2018 The objectives of the Year 1 Pilot Study were to (i) develop a methodology for determining tornado occurrence in Northern Ontario, and (ii) obtain research quality data for at least one event. Because of the isolation of many regions, the approach assumed the use of radar data analysis combined with aerial surveys. These objectives were achieved. Aerial surveys were conducted for a total of seven events in Ontario and southern Quebec and 15 confirmed or probable tornadoes identified. Archival geo-tagged imagery was obtained for six of these events. Ten confirmed or probable tornadoes were identified in Ontario, five of which were not in the OSPC database. In addition, 5 tornadoes were confirmed in Quebec. For the 2017 season, the OSPC had a list of 10 verified tornadoes, as of December 21, 2017. The pilot project raises this number to 15. In total, 4 EF2 tornadoes and 1 EF3 tornado were identified via aerial photography. The remainder were EF1 or EF0. UPDATE – 23 April 2018 Based on the analysis of newly available Planet.com high-resolution satellite imagery and related tools, several events were reassessed and a number of additional tornadoes were discovered. Overall, an additional three tornadoes were added to 2017 count. The updated events are listed in a revised 2017 summary table appended at the end of this document.
2

King, E. L., and A. Atkinson. The Banquereau surf clam dredging impact study "ten years after" and seabed photography of Laurentian Channel: Technical Report on the CCGS Hudson Cruise 2008-015, First Leg. Fisheries and Oceans Canada (DFO) and the Geological Survey of Canada - Atlantic (GSC-A) June 10-14, 2008. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2013. http://dx.doi.org/10.4095/292591.

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