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Relevant bibliographies by topics / War photography Photography

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Academic literature on the topic 'War photography Photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "War photography Photography"

1

Carville, Justin. "‘This postcard album will tell my name, when I am quite forgotten’: Cultural Memory and First World War Soldier Photograph Albums." Modernist Cultures 13, no. 3 (August 2018): 417–44. http://dx.doi.org/10.3366/mod.2018.0220.

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Since the Crimean and American Civil Wars in the nineteenth century, photography has allowed societies to experience war through the collective understanding of photographic representation as an inscription or mnemonic cue for recollections of past events. However, the First World War ushered in new vernacular cultural practices of photography which radically altered how both war was represented and experienced through photography. This shift, in turn, engendered new private and domestic forms of post-war remembrance through the photographic image. Kodak's marketing of the Vest Pocket Autographic Camera which became known as the ‘Soldier's Camera’, allowed soldiers on the battle front and their families on the home front to experience the war and the formation of post-war memory outside of the iconic images of military heroes and battlefield conflict. Vernacular photography allowed for intimate portrayals of everyday soldier life to be visually displayed in private arrangements of photographs in photo-albums compiled by soldiers and their families as forms of post-war remembrance. Discussing photograph albums compiled by Irish soldiers and nurses, this essay explores the place of vernacular photography in personal commemorative acts by soldiers and nurses in the aftermath of the First World War. By treating vernacular soldier photographs of World War I as social objects that allow relationships to be formed and maintained across time, the essay argues that the materiality of the photograph as image-object can be explored to consider how the exchange, circulation and consumption of photographs allow for the accumulating and expending of histories and memories of the First World War and its aftermath.

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Alinder, Jasmine. "Displaced Smiles: Photography and the Incarceration of Japanese Americans During World War II." Prospects 30 (October 2005): 519–37. http://dx.doi.org/10.1017/s0361233300002167.

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Historical texts, oral testimony, and scholarship document vividly the incarceration of Japanese Americans during World War II — the loss of private property and personal belongings, and the emotional and psychological suffering, that the imprisonment caused. Yet there is very little visual evidence in the photographic record of incarceration that would attest overtly to these injustices. A photograph on April 1, 1942, by Clem Albers, a photographer for the War Relocation Authority (WRA), depicts three well-dressed young women who have just boarded a train in Los Angeles, which will take them to a so-called assembly center (Figure l). The photograph would appear at first glance to tell a very different story. The women smile and extend their arms out of a raised train window to wave goodbye, as if they are embarking on a vacation or some other pleasant excursion. The Albers photograph is not an exception to the photographic record of incarceration. In the thousands of photographs made of the incarceration process by government photographers, independent documentarians, and “internees,” it is much more difficult to find photographs that portray suffering than it is to find images of smiling prisoners.Not surprisingly, these photographs of smiling Japanese Americans are unsettling for those scholars, curators, and activists who have worked to expose the injustices of the wartime imprisonment. The smiles are charged for several reasons: They appear to belie the injustice of incarceration and the suffering it caused, they are reminiscent of the ugly stereotype of the grinning Oriental, and they suggest that those portrayed were entirely compliant with the government's racist agenda.

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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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Shevchenko, Olga. "Photographs and Their Many Lives." Slavic Review 76, no. 1 (2017): 90–97. http://dx.doi.org/10.1017/slr.2017.12.

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“How does meaning get into the image? Where does it end?” asked Roland Barthes in his now-classic essay “Rhetoric of the image.” At first glance, Barthes’s questions might appear nonsensical, but as this discussion around the various uses and misuses of Evgenii Khaldei’s photographs of war-time Budapest demonstrates, the question of meaning and truth in photography is anything but simple. This is because the meaning of a photograph is shaped by a multitude of factors, both internal and external to the image itself, and because the photographic medium, more so than other visual practices, lends itself to expectations of verisimilitude that obscure the complex relationship that photographs have to reality that they purportedly record.

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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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Alù, Giorgia. "Order and otherness in a photographic shot: Italians abroad and the Great War." Modern Italy 22, no. 3 (August 2017): 291–314. http://dx.doi.org/10.1017/mit.2017.34.

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This article explores the meaning of photographic portraits of First World War Italian migrants, in terms of the tensions that emerge from their visual codes and the extent to which the subject’s interior reality and individuality might emerge from the reassuring surface imagery of photography and war. By analysing photographs of Italian migrants who either joined Italy’s army or enrolled in their adopted country’s army, we can see how the ‘otherness’ of the war – its artificial face of idealised glory, honour, and ordinariness, as presented through the portrait’s aesthetic codes – supplants the ‘otherness’ of the migrant individual, that is, their ambivalent life in between different cultures, traditions and identities. Yet, beyond the physical and psychological annihilation of the modern war, the photographic portrait, with its fabricated order and ‘otherness’, becomes, for the migrant soldier, a means of giving coherence to his dislocated existence. The nostalgic visual codes of the photograph, however, evoke an order that is now denied by the destructive mobility and mobilisation of both migration and war.

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Arsita, Adya. "JUKSTAPOSISI FOTOGRAFI DI NOVEL GRAFIS ‘THE PHOTOGRAPHER’." spectā: Journal of Photography, Arts, and Media 2, no. 2 (April 24, 2019): 135–44. http://dx.doi.org/10.24821/specta.v2i2.2554.

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AbstrakPenelitian ini hendak mengkaji fungsi-fungsi dokumenter dalam karya fotografi yang divisualisasikan berdampingan dengan gambar-gambar komik dalam sebuah novel grafis berjudul ‘The Photographer: Into War-Torn Afghanistan with Doctors without Borders’. Tujuan dari penelitian ini adalah untuk mencari tahu apakah nilai dokumenter karya foto bisa tetap diapresiasi layaknya foto dokumenter ataukah ada peralihan fungsi ketika dua jenis piktorial disandingkan bersamaan. Metode penelitian yang digunakan untuk menganalisis adalah metode kualitatif yang menganggap bahwa setiap petunjuk adalah penting untuk dianalisis. Kemudian potongan-potongan informasi yang didapat dikaji dengan pendekatan fotografi dokumenter. Diharapkan hasil penelitian ini dapat memberikan kontribusi dalam ranah ilmu kajian fotografi sekaligus kajian komik (comic studies). Dalam ranah fotografi, fotografi dokumenter akan makin ‘berbicara’ dan memaksimalkan fungsinya ketika terbantu dengan teks piktorial lain. Untuk ranah kajian komik, hadirnya citraan fotografi justru akan memperjelas pesan yang hendak disampaikan kepada khalayak melalui gambar-gambarnya. Kata kunci: jukstaposisi, fotografi, novel grafis, dokumenter AbstractJuxtaposition of Photography in a Graphic Novel Titled ‘The Photographer’. This research studied the documentary function in photography works visualized side to side with the comic drawings in a graphic novel titled ‘The Photographer:Into War-Torn Afghanistan with Doctors without Borders’. The aim of this research was to find out whether the documentary photographs are still appreciated as they are, or there are any changes of function when those two pictorials are juxtaposed. The method employed in this research was qualitative method which considered that each clue was important to be analyzed. Then, each of them would be studied using approaches from the view point of documentary photography. The result of this research hopefully could give a contribution to the photography studies and comic studies. Photographs will ‘speak louder’ and will have their greatest value when supported by other kind of pictorials. While in comic studies, the photographs will be able to send messages better through their drawings when juxtaposed with photographs. Keywords: juxtaposition, photography, graphic novel, documentary

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Goodrum, Sarah. "International Photography Networks and Walter Hahn’s Museum for Photography, Dresden." International Journal for History, Culture and Modernity 5, no. 1 (March 28, 2017): 130–68. http://dx.doi.org/10.18352/hcm.526.

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The Museum für Photographie, founded, developed and directed by Dr. Walter Hahn for only twelve years in the city of Dresden, has only recently emerged in scholarship on East German photographic culture. Although the museum definitely enjoyed a relationship with the East German cultural authorities within the Cultural League, or Kulturbund, it does not sit easily in the historiographical category of ‘official’ photography in the GDR. Hahn’s version of the history of photography was challenging to the socialist establishment, which hampered the further development of the museum and did not preserve the project after Hahn’s death. Hahn’s ambitions to expand his museum and gain membership in an international community of collectors and museum professionals drove him to contact a tremendous number of figures throughout the world and led to many fruitful exchanges on questions of the history of photography and the state of collections internationally. This article will address the degree to which Hahn’s networking through publications and correspondence and attempts at cultural diplomacy tied him more closely to the international community of photography collectors and photography museums – particularly in the West – than his Cultural League colleagues could ultimately sanction. It argues that Hahn and his museum represent a historical and historiographical anomaly that complicates the accepted narratives of East Germany history. Hahn’s interactions within the international museum community represent a significant instance of the international circuit of photographic images and literature during the Cold War.

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Sim, Lorraine. "A different war landscape: Lee Miller's war photography and the ethics of seeing." Modernist Cultures 4, no. 1-2 (May 2009): 48–66. http://dx.doi.org/10.3366/e2041102209000458.

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This essay examines the war photography of Lee Miller in terms of the ways it negotiates ethical challenges integral to the visual documentation of war, and the means by which her photography achieves what Susan Sontag terms an “ethics of seeing” (On Photography). In often eschewing, or figuring in unconventional ways, the horrors of war and directing the viewer's attention to typically unprivileged scenes and moments, I argue that the moral tone and sensibility of Miller's war photography is a function of her complex engagement with ideas, and the subject matter of, the ordinary and everyday. The essay focuses on two bodies of work: Miller's photographs of London during the Blitz which were published in Britain and America in 1941 in the book Grim Glory: Pictures of Britain Under Fire, and some of the photographs she took on the Continent when working as a U.S. accredited war correspondent for British Vogue in 1944 and 1945.

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Marini, Candela. "War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883)." Fotocinema. Revista científica de cine y fotografía, no. 22 (January 25, 2021): 49–74. http://dx.doi.org/10.24310/fotocinema.2021.vi22.11650.

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In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and a commercial opportunity. Experiencing with a technology that forced them to produce images of war stripped of battle action while trying to capitalize on the diverse interests in these conflicts, most photographers offered a rendering of war of ambiguous political meanings. In this essay, I argue that the photographs of the War of the Pacific taken by the studio Díaz & Spencer are one of the first examples of the successful use of war photography for nation-building purposes, that is, as national propaganda. Photographers had the challenge to create impressive, apologetic and heroic captures of the military forces, and Díaz & Spencer succeeded in creating a visual narrative congruent with Chilean official discourses, consolidating, rather than challenging, the Chilean state view of the war. Equally important, this allignment of political views was accomplished on account of Díaz and Spencer’s initiative—not that of Chilean state officials.

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Dissertations / Theses on the topic "War photography Photography"

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Jolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.

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Kirkpatrick, Erika Marie. "Photography, the State, and War: Mapping the Contemporary War Photography Landscape." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/35723.

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This dissertation explores the ways in which media, visuality, and politics intersect through an analysis of contemporary war photography. In so doing, it seeks to uncover how war photography as a social practice works to produce, perform and construct the State. Furthermore, it argues that this productive and performative power works to constrain the conditions of possibility for geopolitics. The central argument of this project is that contemporary war photography reifies a view of the international in which the liberal, democratic West is pitted against the barbaric Islamic world in a ‘civilizational’ struggle. This project’s key contribution to knowledge rests in its unique and rigorous research methodology (Visual Discourse Analysis) – mixing as it does inspiration from both quantitative and qualitative approaches to scholarship. Empirically, the dissertation rests on the detailed analysis of over 1900 war images collected from 30 different media sources published between the years 2000-2013.

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Ruminski, Jarret. "“A Terrible Fascination:” Civil War Photography and the Advent of Photographic Realism." Youngstown State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1194962162.

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Gassner, Patricia. "Icons of war photography : how war photographs are reinforced in collective memory : a study of three historical reference images of war and conflict." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2461.

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Thesis (MPhil (Journalism))--University of Stellenbosch, 2009.
There are certain images of war that are horrific, frightening and at the same time, due to an outstanding compositional structure, they are fascinating and do not allow its observers to keep their distance. This thesis examines three images of war that have often been described as icons of war photography. The images “children fleeing a napalm strike” by Nick Ut, “the falling soldier” by Robert Capa and Sam Nzima’s photograph of Hector Pieterson are historical reference images that came to represent the wars and conflicts in which they were taken. It has been examined that a number of different factors have an impact on a war photograph’s awareness level and its potential to commit itself to what is referred to as collective consciousness. Such factors are the aesthetical composition and outstanding formal elements in connection with the exact moment the photograph was taken, ethical implications or the forcefulness of the event itself. As it has been examined in this thesis, the three photographs have achieved iconic status due to different circumstances and criteria and they can be described as historical reference images representing the specific wars or conflicts. In this thesis an empirical study was conducted, questioning 660 students from Spain, South Africa and Vietnam about their awareness level regarding the three selected photographs. While the awareness level of the Spanish and the South African image was rather high in the countries of origin, they did not achieve such a high international awareness level as the Vietnamese photograph by Nick Ut, which turned out to be exceptionally well-known by all students questioned. Overall, findings suggest that the three selected icons of war photography have been anchored in collective memory. Ut, Robert Capa, Sam Nzima, semiotics, Spanish Civil War, the falling soldier, Vietnam War

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Stricker, Kirsten E. "The Absence That Is Present: Civil War Photography. 1862-2015." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491567573460185.

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Paglamidis, Konstantinos. "Semiotics of Humanitarian Photography." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22424.

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Communication campaigns by major organizations in the field of development have been heavily dependent on humanitarian photography to motivate and attract donors. This genre of photography serves its purpose by informing, surprising and attracting the attention of a broad audience. It captures real life and real problems people in need have to deal with in remote areas of the world. This paper delves into the use of visual semiotics in the context of humanitarian photography and for the purpose of fund-raising by case study research of recent communication campaigns as implemented by major players in the field such as the International Committee of the Red Cross, the Global Fund to Fights AIDS, Tuberculosis and Malaria, Doctors without Border, CARE and Save the Children. The purpose is to identify key issues which allow for the elicitation of a sign framework specific to the fund-raising genre and its idiosyncratic use of visual signs in photography based on a broad theoretical basis of semiotics. The analysis focuses on the content and methods of signification of photography in each case study. The effectiveness of humanitarian photography and important aspects of its function is discussed in the scope of its use as a communication medium for development.

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Cohen, Hagit. "Hovering at a low altitude /." Online version of thesis, 1990. http://hdl.handle.net/1850/10903.

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Gill, Sabina. "Exposing wounds : traces of trauma in post-War Polish photography." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20052/.

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This thesis draws on psychoanalytic theories of trauma to interrogate works produced by Polish photographers after the Second World War. The aim of this thesis is to excavate traces of trauma latently embedded in post-war Polish art photography. By closely analysing a selection of photographs produced between the years 1945 and 1970, I argue that the events of the war cast a shadow over the lives of Polish artists. Rather than looking at photographs which directly visualise these traumatic events, I explore the ways in which these experiences manifest themselves indirectly or obliquely in the art of the period, through abstraction, a tendency towards ‘dark realism,’ and an interest in traces of human presence. Drawing on the photographs of Zbigniew Dłubak, Zdzisław Beksiński, Jerzy Lewczyński, Bronisław Schlabs, Andrzej Różycki, Józef Robakowski and other post-war photographers, I argue that the events of the war were not the only traumas to cast their shadow on the Polish psyche. Between 1945 and 1970, Poland underwent a series of transitions and changes in leadership, population and Party politics. Periods of optimism and leniency oscillated with phases of repression and social unrest. In my analysis, I suggest that multiple traumas can be discerned in these decades. What is at stake in this thesis is the proposition that a photograph can bear imperceptible traces of events that have wounded the psyche, which could not be articulated at the time, but which were made visible at a later date. Photographs made in the post-war years provided a space to belatedly return to encrypted traumas, to relay ideas that could not otherwise be articulated, and to acknowledge events that had been disavowed.

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Rose, Josh. "When Reality Was Surreal: Lee Miller's World War II War Correspondence for Vogue." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4357/.

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During World War II, Lee Miller was an accredited war correspondent for Vogue magazine. Miller was trained as a surrealist photographer by Man Ray, and her wartime work, both photographic and written, is indicative of a combination of journalism and surrealism. This thesis examines Lee Miller's war correspondence within the context of Vogue magazine, establishing parallels between the photographs and writing to determine how surrealism informs it stylistically and ideologically. Using surrealist techniques of juxtaposition and an unmanipulated photographic style, and the surrealist concepts of the Marvelous and Convulsive Beauty, Miller presented the war as a surreality, or a surreal reality. This study concludes by using Miller's approach to suggest a new concept of journalistic practice: surrealist journalism.

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Bingham, Stuart. "Photography and the Falklands Conflict : Homeric heroism in modern warfare." Thesis, University of South Wales, 2010. https://pure.southwales.ac.uk/en/studentthesis/photography-and-the-falklands-conflict(89c4a0f2-f9a2-44e5-8db4-44e7f8d2f997).html.

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The Falklands Conflict has always loomed large throughout my adult life. As a young man of 19 years old, I watched the television and read the newspapers with the same degree of excitement and fascination as most of the British population. In the following year, as a direct result of the passion and glory that surrounded the war I joined the British Army as a Royal Military Policeman. It quickly became apparent to myself, if not the military, that this was a poor career choice and that I was never cut out to be a soldier. After a military career lasting no more than a few weeks I went to college and started life as a photographer, joining the Ministry of Defence in the late 1980s. Since then, I have made numerous visits to the Falkland Islands to publicise the work of the soldiers who now defend the islands from any threat of re-invasion. Looking back, it seems that the war was over remarkably quickly, and by modern standards, where the war in Afghanistan is projected to last anything between 10 and 20 years, it was. It has often been described as Britain's last colonial war, the last in a long line of small conflicts that expanded and defended the British Empire. Attitudes to war in the South Atlantic developed in a bubble of patriotism and jingoism that has not been seen since and such attitudes now seem to be forged in imperialism, in a time long past and no longer available to representatives of British culture. However, on a wider stage, the representation of all wars and the men who fight in them has a long history. Each culture has its own way of coming to terms with conflict and death, but in the western world, the origins of the representation of the warrior can be traced back to the Ancient Greeks in general, and Homer in particular. Dr. Jonathan Shay, a psychiatrist with the United States Department of Veteran Affairs has made a compelling argument that breaking the Greek covenant has had lasting implications for the veterans of the Vietnam War. (Shay 1995) This psychoanalytical work has helped provide a model of representation that explains why soldiers are portrayed in the way they are. Without the work of Dr. Shay, I am sure that this thesis would not have taken the course that it has. In pursuing this thesis I have had to accept that there may be implications, perceived or real, for my ongoing work as photographer with the Ministry of Defence. The MoD has in various measures supported this research and to date has made no attempt to direct its course or influence the findings; in fact, at the point of submission, they are unaware of its contents. It is clear, that in this type of research, not all the findings will reflect well on the MoD's past or current working practices, but I believe it is possible for it to learn from the results. My position as an MoD photographer has on the other hand had a positive benefit on the research: I have been able to gain access to archives that have remained closed to others. Hilary Roberts, Head of Photography Collections at the Imperial War Museum, has been very influential in this work and has given me more co-operation and trust than I could have hoped for. She has also allowed me more time to present this work than I could have dared asked for given the nature of the images found in the IWM archive, and that the research spanned the 25 th anniversary celebrations. I remain grateful to Hilary for her unstinting support. Finally, I would like to thank Dr lan Walker for his support and supervisor expertise over far too may years. He has read and re-read this work more times than I care to remember and has remained perennially patient with my inabilities to either type or spell, a problem that has made his job all the more difficult. The research and the writing faltered on several occasions, some more serious than others, but without his skill in getting me to do things that, quite frankly, I really did not want to do, this project would never have been completed. It is to Ian that I hold the deepest debt of gratitude.

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Books on the topic "War photography Photography"

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Erickson, Lucy. War photography. London: LCP, 2000.

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Reitzel, Mette. Post-war Japanese photography. London: LCP, 2002.

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Hodgson, P. J. Developments in war photography. London: LCP, 1985.

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Reitzel, Mette. Post-war Japanese photography. London: LCP, 2002.

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Stille, Darlene R. The Civil War through photography. Chicago, Ill: Heinemann Library, 2012.

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Zarzycka, Marta. Gendered Tropes in War Photography. New York : Routledge, 2016. | Series: Routledge: Routledge, 2016. http://dx.doi.org/10.4324/9781315746746.

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Bros, Maggs. Japanese photography from the pre-war period: Photobooks & prints. London: Maggs Bros., 2007.

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War and photography: A cultural history. London: Routledge, 1997.

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Frassanito, William A. Early photography at Gettysburg. Gettysburg, Pa: Thomas Publications, 1995.

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Fabian, Rainer. Images of war: 130 years of war photography. London: Guild Publishing, 1985.

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Book chapters on the topic "War photography Photography"

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Trafton, John. "War Photography." In The American Civil War and the Hollywood War Film, 71–92. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-49702-4_4.

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Anderson, Joel. "War Primer." In Theatre & Photography, 77–81. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_11.

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Allan, Stuart. "Women and war photography." In Journalism, Gender and Power, 312–30. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315179520-22.

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Trafton, John. "Photography and the War Film." In The American Civil War and the Hollywood War Film, 93–121. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-49702-4_5.

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Caruso, Martina. "Antifascist Photography Under Fascism." In Italian Humanist Photography from Fascism to the Cold War, 13–49. London; New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing, Plc, [2016]: Routledge, 2020. http://dx.doi.org/10.4324/9781003103561-2.

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Ravbar, Matjaž. "Aerial photography in the Great War." In Rediscovering the Great War, 27–42. New York : Routledge, [2019] | Series: Material culture and modern conflict: Routledge, 2019. http://dx.doi.org/10.4324/9781315270586-3.

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Hippensteel, Scott. "Geomorphology and Civil War Combat Photography." In Rocks and Rifles, 79–102. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00877-2_4.

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Koh, Dong-Yeon. "“Late photography” and Cold War memories." In The Korean War and Postmemory Generation, 25–66. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003008897-2.

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Caruso, Martina. "Humanist Photography and The “Catholic” Family of Man." In Italian Humanist Photography from Fascism to the Cold War, 119–53. London; New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing, Plc, [2016]: Routledge, 2020. http://dx.doi.org/10.4324/9781003103561-5.

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Caruso, Martina. "Photography, Power, and Humiliation in the Second World War." In Italian Humanist Photography from Fascism to the Cold War, 51–83. London; New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing, Plc, [2016]: Routledge, 2020. http://dx.doi.org/10.4324/9781003103561-3.

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Conference papers on the topic "War photography Photography"

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Hippensteel, Scott P. "DIABASE WEATHERING AND THE INTERPRETATION OF AMERICAN CIVIL WAR COMBAT PHOTOGRAPHY." In GSA Annual Meeting in Seattle, Washington, USA - 2017. Geological Society of America, 2017. http://dx.doi.org/10.1130/abs/2017am-300878.

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Mehdizadeh, N. Z., and S. Chandra. "Effect of Impact Velocity and Substrate Temperature on Boiling of Water Droplets Impinging on a Hot Stainless Steel Surface." In ASME 2004 Heat Transfer/Fluids Engineering Summer Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/ht-fed2004-56179.

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We photographed high velocity impact of small water droplets (0.55 mm) on a heated stainless steel surface. To achieve high impact velocities the test surface was mounted on the rim of a rotating flywheel, giving linear velocities of up to 50 m/s. Two cartridge heaters were inserted in the substrate and used to vary substrate temperature. A CCD video camera was used to photograph droplets impinging on the substrate. By synchronizing the ejection of a single droplet with the position of the rotating flywheel and triggering of the camera, different stages of droplet impact were photographed. Substrate temperature was varied from 100–240°C and the impact velocity from 10–30 m/s. High-resolution photographs were taken of vapor bubbles nucleating sites inside the thin films produced by spreading droplets. For a given impact velocity, the extent of droplet spreading increased with substrate temperature. The superheat needed to initiate bubble nucleation decreased with impact velocity. We derived an analytical expression for the amount of superheat required for vapor bubble nucleation as a function of impact velocity.

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Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to other art forms, particularly by: 1) emphasizing Hervé’s artistic, partly non-representational, approach to architectural photography; 2) employing principles of musical composition; and 3) approximating photographic practise of documenting sculpture. Keywords: architectural photography, photo book,Lucien Hervé,LeCorbusier, Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.935

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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6880.

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Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values that have served to interpret painting or sculpture in the history of art.

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Takamatsu, Misao, Kazuyuki Imaizumi, Akinori Nagai, Takashi Sekine, and Yukimoto Maeda. "Development of Observation Techniques in Reactor Vessel of Experimental Fast Reactor Joyo." In 17th International Conference on Nuclear Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/icone17-75088.

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During the investigation of an incident that occurred with the experimental fast reactor Joyo, In-Vessel Observations (IVO) using a standard Video Camera (VC) and a Radiation-Resistant Fiberscope (RRF) took place at (1) the top of the Sub-Assemblies (S/As) and the In-Vessel Storage rack (IVS), (2) the bottom face of the Upper Core Structure (UCS) under the condition with the level of sodium at −50 mm below the top of the S/As. A simple 6 m overhead view of each S/A, through the fuel handling or inspection holes etc, was photographed using a VC fixed to the Rotating-Plug (R/P) with the acrylic panel for making observations of the top of S/As and IVS. About 650 photographs were required to create a composite photograph of the top of the entire S/As and IVS, and a resolution was estimated to be approximately 1mm. In order to observe the bottom face of the UCS, a Remote Handling Device (RHD) equipped with RRFs (approximately 13 m long) was specifically developed for Joyo with a tip that could be bent into an L-shape and inserted into the 70 mm gap between the top of the S/As and the bottom of the UCS. A total of about 35,000 photographs were needed for the full investigation. Regarding the resolution, the sodium flow regulating grid of 0.8mm in thickness could be discriminated, and the base of thermocouple sleeves 6 mm in diameter located 450 mm above the top of S/As were also clearly observed. In both types of observations, it was confirmed that lighting adjustments play a critical role. Particularly in narrow space observations, scattered lighting with automatic dimming controlled light source was available for achieving close observations of the in-vessel structures. In addition to the successful result of the incident investigation, these experiments provided valuable insights for use in further improving and verifying in-vessel observation techniques in Sodium cooled Fast Reactors (SFRs).

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Molki, Majid, and Bahman Abbasi. "Experimental and Computational Study of Droplet Growth and Detachment Near the Inception Point." In ASME 2007 International Mechanical Engineering Congress and Exposition. ASMEDC, 2007. http://dx.doi.org/10.1115/imece2007-41433.

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An experimental and computational investigation was conducted to study the growth and detachment of a single liquid droplet. High-speed photography was employed to capture the droplet evolution from the onset to the breakup time. Three-dimensional computations were carried out to predict the droplet behavior and flow dynamics inside the droplet. The droplet fluid was water immersed in the surrounding atmospheric air. The computations were performed using the finite volume and Volume of Fluid (VOF) techniques. The computations and high-speed photography of the droplet formation were carried out at 20°C. Diameter of the injection port was 2.4 mm and the flow rate for generation of droplets was 1.1 × 10−4 kg/s. These values together with the choice of liquid resulted in a Bond number of 0.19, Capillary number of 3.4 × 10−4, and liquid-to-gas viscosity ratio of 56.05. The results indicated that the shape and evolution of the droplet as predicted by the computations were in good agreement with those captured on the high-speed photographs. The computations revealed details of the flow inside the droplet such as pressure and velocity.

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Esmaeelpanah, J., A. Dalili, S. Chandra, J. Mostaghimi, H. C. Fan, and H. Kuo. "Interactions Between High-Viscosity Droplets Deposited on a Surface: Experiments and Simulations." In ASME 2012 Fluids Engineering Division Summer Meeting collocated with the ASME 2012 Heat Transfer Summer Conference and the ASME 2012 10th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/fedsm2012-72068.

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A combined numerical and experimental investigation of coalescence of droplets of highly viscous liquids dropped on a surface has been carried out. Droplets of 87 wt% glycerin-in-water solutions with viscosity 110 centistokes were deposited sequentially in straight lines onto a flat, solid steel plate and droplet impact photographed. Impacting droplets spread on the surface until liquid surface tension and viscosity overcame inertial forces and the droplets recoiled, eventually reaching equilibrium. Droplet center-to-center distance was varied and droplet line length was measured from photographs. As droplet spacing was increased there was less interaction between the droplets. A three dimensional parallel code has been developed to simulate fluid flow and free surface interaction by solving the continuity, momentum and volume-of-fluid (VOF) equations. The two-step projection method was employed to solve the governing equations for the whole domain including both liquid and air phases. The continuum-surface-force (CSF) scheme was applied to model surface tension and the piecewise-linear-interface-construction (PLIC) technique used to reconstruct the free surface. Computer generated images of impacting droplets modeled droplet shape evolution correctly and compared well with photographs taken during experiments. Accurate predictions were obtained for droplet line length during spreading and at equilibrium.

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De Sola, Ignacio Sifre, Nieves Pérez-Mata, and Margarita Diges. "THE EFFECT OF THE INSTRUCTIONS ON FACE RECOGNITION: ACCURACY AND EYE MOVEMENTS." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact104.

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"The present experiment examines how instructions (absolute judgement vs. relative judgement) affect the performance in simultaneous lineups (present perpetrator and absent perpetrator). To find out whether the participants really followed the instructions, their eye movements were recorded when they faced the photo lineup. Sixty participants (44 women and 16 men) took part in the experiment. Overall, the results showed that participants with absolute judgement instructions made significantly less inter-photograph comparisons than those with relative judgement instructions. In the present perpetrator lineup, hit rate was lower for participants with absolute judgement instructions than with relative judgement instructions. In the absent perpetrator lineup, no differences were between both instruction conditions. Furthermore, as was expected, no relationship was found between “pre” and “post” confidence and accuracy in the lineups. Moreover, we examined participants’ metamemory evaluations about their examination pattern of the photographs in the lineup. Our results did not show high incongruity between the own participants’ judgment and their visual behavior."

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Molki, Majid, and Bahman Abbasi. "Thermal Wake of a Single Rising Air Bubble in a Large Body of Stagnant Liquid." In ASME 2007 International Mechanical Engineering Congress and Exposition. ASMEDC, 2007. http://dx.doi.org/10.1115/imece2007-43406.

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A computational effort was undertaken to study the thermal field behind a slowly rising solitary air bubble. Starting from rest, the bubble moves upward in water due to buoyancy force in the gravitational field and induces both internal and external motion. The bubble, being colder than the surrounding water, is heated by water. The upward motion deforms the shape of the bubble and generates a convective heat transfer process. Variation of temperature at the gas-liquid interface causes a local variation of surface tension. Although the problems of this type have been generally treated by the axisymmetric assumption, the present work employs a three-dimensional model that captures the azimuthal variation of flow parameters. High-speed photography was employed to visualize the bubble evolution from the onset until the bubble reached a certain velocity. The computations were performed using the finite-volume and Volume of Fluid (VOF) techniques. The shape and evolution of the bubble as predicted by the computations are compared with those captured on the high-speed photographs. The computations revealed details of the pressure and temperature fields inside and outside the bubble. They also indicated the thermal field in the wake region behind the bubble.

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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio, and María Adelaida Gutiérrez Martín. "Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.

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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.

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Reports on the topic "War photography Photography"

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Bridges, Todd, E. Bourne, Burton Suedel, Emily Moynihan, and Jeff King. Engineering With Nature : An Atlas, Volume 2. Engineer Research and Development Center (U.S.), March 2021. http://dx.doi.org/10.21079/11681/40124.

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Engineering With Nature: An Atlas, Volume 2 showcases EWN principles and practices "in action" through 62 projects from around the world. These exemplary projects demonstrate what it means to partner with nature to deliver engineering solutions with triple-win benefits. The collection of projects included were developed and constructed by a large number of government, private sector, non-governmental organizations, and other organizations. Through the use of photographs and narrative descriptions, the EWN Atlas was developed to inspire interested readers and practitioners with the potential to engineer with nature.

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Kimbrell, K. D., and Kathleen E. Hiatt. Kansas Army Ammunition Plant. Supplemental Photographic Documentation of Archetypal Buildings, Structures, and Equipment for Army Material Command, National Historic Context for World War II Ordnance Facilities. Fort Belvoir, VA: Defense Technical Information Center, March 1995. http://dx.doi.org/10.21236/ada316521.

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Kimbrell, K. D., and Kathleen E. Hiatt. Radford Army Ammunition Plant. Supplemental Photographic Documentation of Archetypal Buildings, Structures, and Equipment for U.S. Army Materiel Command. National Historic Context for World War II Ordnance Facilities. Fort Belvoir, VA: Defense Technical Information Center, April 1995. http://dx.doi.org/10.21236/ada316522.

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Kimbrell, K. D., Matthew Snellgrove, and Rita Walsh. Ravenna Army Ammunition Plant. Supplemental Photographic Documentation of Archetypal Buildings, Structures, and Equipment for U.S. Army Materiel Command National Historic Context for World War II Ordnance Facilities. Fort Belvoir, VA: Defense Technical Information Center, April 1995. http://dx.doi.org/10.21236/ada315497.

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Kimbrell, K. D., Matthew Snellgrove, Robert C. Vogel, and Deborah L. Cown. Twin Cities Army Ammunition Plant, Supplemental Photographic Documentation of Archetypal Buildings, Structures, and Equipment for Army Materiel Command National Historic Context for World War II Ordnance Facilities. Fort Belvoir, VA: Defense Technical Information Center, May 1995. http://dx.doi.org/10.21236/ada315682.

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White, William D., Krapf Jr., and Kellie A. Lake City Army Ammunition Plant. Supplemental Photographic Documentation of Archetypal Buildings, Structures, and Equipment for U.S. Army Materiel Command. National Historic Context for World War II Ordnance Facilities. Fort Belvoir, VA: Defense Technical Information Center, November 1995. http://dx.doi.org/10.21236/ada315683.

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Tooker, Megan, and Adam Smith. Historic landscape management plan for the Fort Huachuca Historic District National Historic Landmark and supplemental areas. Engineer Research and Development Center (U.S.), June 2021. http://dx.doi.org/10.21079/11681/41025.

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The U.S. Congress codified the National Historic Preservation Act of 1966 (NHPA) to provide guidelines and requirements for preserving tangible elements of our nation’s past. This preservation was done primarily through creation of the National Register of Historic Places (NRHP), which contains requirements for federal agencies to address, inventory, and evaluate their cultural resources, and to determine the effect of federal undertakings on properties deemed eligible or potentially eligible for the NRHP. This work inventoried and evaluated the historic landscapes within the National Landmark District at Fort Huachuca, Arizona. A historic landscape context was developed; an inventory of all landscapes and landscape features within the historic district was completed; and these landscapes and features were evaluated using methods established in the Guidelines for Identifying and Evaluating Historic Military Landscapes (ERDC-CERL 2008) and their significance and integrity were determined. Photographic and historic documentation was completed for significant landscapes. Lastly, general management recommendations were provided to help preserve and/or protect these resources in the future.

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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.

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Tabinskyy, Yaroslav. VISUAL CONCEPTS OF PHOTO IN THE MEDIA (ON THE EXAMPLE OF «UKRAINER» AND «REPORTERS»). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11099.

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The article is devoted to the analysis of the main forms of visualization in the media related to photo. The thematic visual concepts are described in accordance with the content of electronic media, which consider the impact of modern technologies on the development of media space. The researches of the Ukrainian and foreign educational institutions concerning the main features of modern photo is classificate. Modifications and new visual forms in the media are singled out. The main objective of the article is to study the visual concepts of modern photo and identify ideological and thematic priorities in photo projects. To achieve the main objective in the article a certain methodology were used. Due to the historical-theoretical description it was possible to substantiate the study of visual concepts. The conceptual-system method was used to study the subject of media photo projects. The main results of the research are the definition of visual concepts of photo on the example of electronic media and the identification of the main thematic features in the process of visual filling of the media space. Based on the study, we can conclude that today the information field needs quality visual content. For successful creation of visual concepts it is necessary to single out thematic features of modern photo and to carry out classifications on ideological and semantic signs. Given the rapid development of digital technologies, the topic of the scientific article we offer is relevant for scientists, journalists, media researchers, visual journalism experts and photojournalists. Modern space is filled with a large number of pictorial materials, which in most cases form specific images, patterns or stereotypes in the mind of the reader (viewer). Also important is the classification of photo used in journalistic publications. That is why there is a need to explore the content and principles of distribution of ideological priorities of photo in the media. The substantiation of scientists about the important place of photography in the modern media space and the future development of visual technologies, which already use artificial intelligence, is relevant.

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Brophy, Kenny, and Alison Sheridan, eds. Neolithic Scotland: ScARF Panel Report. Society of Antiquaries of Scotland, June 2012. http://dx.doi.org/10.9750/scarf.06.2012.196.

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The main recommendations of the Panel report can be summarised as follows: The Overall Picture: more needs to be understood about the process of acculturation of indigenous communities; about the Atlantic, Breton strand of Neolithisation; about the ‘how and why’ of the spread of Grooved Ware use and its associated practices and traditions; and about reactions to Continental Beaker novelties which appeared from the 25th century. The Detailed Picture: Our understanding of developments in different parts of Scotland is very uneven, with Shetland and the north-west mainland being in particular need of targeted research. Also, here and elsewhere in Scotland, the chronology of developments needs to be clarified, especially as regards developments in the Hebrides. Lifeways and Lifestyles: Research needs to be directed towards filling the substantial gaps in our understanding of: i) subsistence strategies; ii) landscape use (including issues of population size and distribution); iii) environmental change and its consequences – and in particular issues of sea level rise, peat formation and woodland regeneration; and iv) the nature and organisation of the places where people lived; and to track changes over time in all of these. Material Culture and Use of Resources: In addition to fine-tuning our characterisation of material culture and resource use (and its changes over the course of the Neolithic), we need to apply a wider range of analytical approaches in order to discover more about manufacture and use.Some basic questions still need to be addressed (e.g. the chronology of felsite use in Shetland; what kind of pottery was in use, c 3000–2500, in areas where Grooved Ware was not used, etc.) and are outlined in the relevant section of the document. Our knowledge of organic artefacts is very limited, so research in waterlogged contexts is desirable. Identity, Society, Belief Systems: Basic questions about the organisation of society need to be addressed: are we dealing with communities that started out as egalitarian, but (in some regions) became socially differentiated? Can we identify acculturated indigenous people? How much mobility, and what kind of mobility, was there at different times during the Neolithic? And our chronology of certain monument types and key sites (including the Ring of Brodgar, despite its recent excavation) requires to be clarified, especially since we now know that certain types of monument (including Clava cairns) were not built during the Neolithic. The way in which certain types of site (e.g. large palisaded enclosures) were used remains to be clarified. Research and methodological issues: There is still much ignorance of the results of past and current research, so more effective means of dissemination are required. Basic inventory information (e.g. the Scottish Human Remains Database) needs to be compiled, and Canmore and museum database information needs to be updated and expanded – and, where not already available online, placed online, preferably with a Scottish Neolithic e-hub that directs the enquirer to all the available sources of information. The Historic Scotland on-line radiocarbon date inventory needs to be resurrected and kept up to date. Under-used resources, including the rich aerial photography archive in the NMRS, need to have their potential fully exploited. Multi-disciplinary, collaborative research (and the application of GIS modelling to spatial data in order to process the results) is vital if we are to escape from the current ‘silo’ approach and address key research questions from a range of perspectives; and awareness of relevant research outside Scotland is essential if we are to avoid reinventing the wheel. Our perspective needs to encompass multi-scale approaches, so that ScARF Neolithic Panel Report iv developments within Scotland can be understood at a local, regional and wider level. Most importantly, the right questions need to be framed, and the right research strategies need to be developed, in order to extract the maximum amount of information about the Scottish Neolithic.

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