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Artykuły w czasopismach na temat „Viewing photographs”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 1 lutego 2022

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1

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 b

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Chao, Jenifer. "Portraits of the enemy: Visualizing the Taliban in a photography studio." Media, War & Conflict 12, no. 1 (June 23, 2017): 30–49. http://dx.doi.org/10.1177/1750635217714015.

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This article examines studio photographs of Taliban fighters that deviate from popular media images which often confine them within the visual coordinates of terrorism, insurgency and violence. Gathered in a photographic book known simply as Taliban, these 49 photographs represent the militants in Afghanistan through a studio photography aesthetic, transplanting them from the battlefields of the global war on terror to intimate scenes of pretence and posing. Besides troubling the Taliban’s expected militant identity, these images invite an opaque and oppositional form of viewing and initiate e

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Kirby, Alun. "No maps for these territories: exploring philosophy of memory through photography." Estudios de Filosofía, no. 64 (July 30, 2021): 47–71. http://dx.doi.org/10.17533/udea.ef.n64a03.

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I begin by examining perception of photographs from two directions: what we think photographs are, and the aspects of mind involved when viewing photographs. Traditional photographs are shown to be mnemonic tools, and memory identified as a key part of the process by which photographs are fully perceived. Second, I describe the metamorphogram; a non-traditional photograph which fits specific, author-defined criteria for being memory. The metamorphogram is shown to be analogous to a composite of all an individual’s episodic memories. Finally, using the metamorphogram in artistic works suggests

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Huber, J. W., and I. R. L. Davies. "Perception of Slope in Photographs." Perception 26, no. 1_suppl (August 1997): 179. http://dx.doi.org/10.1068/v970323.

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Perceptions of characteristics of space such as slope, distance, and depth are frequently inaccurate, both in the real world and in pictures. We carried out experiments to study factors that influence the accuracy of perceived slope in photographs. Slopes varied in angle from 5° to 45° inclinations against the horizontal, and in the information available to the observer (outline shape and texture characteristics). We found that perceived slope is correlated with real slope ( r=0.99), but that observers consistently overestimate slope. The latter depends not only on the available information, b

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Olin, Margaret. "Touching Photographs: Roland Barthes's ''Mistaken'' Identification." Representations 80, no. 1 (2002): 99–118. http://dx.doi.org/10.1525/rep.2002.80.1.99.

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IN CAMERA LUCIDA, ROLAND BARTHES'S subject is the significance of photography's defining characteristic: the photograph's inseparable relation to its subject, that which ''must have been'' in front of the camera's lens. Or so it would seem. The present reading of Camera Lucida argues that Barthes's essay actually shows photography's nature as dependent not only on the intimate relation to its object, commonly termed ''indexical,'' but in accord with its relation to its user, its beholder. An examination of Barthes's encounters with photographs in Camera Lucida reveals the way in which identifi

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Lomax, Helen, and Janet Fink. "Interpreting Images of Motherhood: The Contexts and Dynamics of Collective Viewing." Sociological Research Online 15, no. 3 (August 2010): 26–44. http://dx.doi.org/10.5153/sro.2157.

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Our research is concerned with cultural representations of birth and mothering and, as part of this, we are engaged with debates concerning competing theoretical and methodological approaches to the analysis of visual images. In particular we are interested in how meanings of an image are reflexively produced, managed and negotiated. That is, whether and to what extent interpretation is influenced by personal experience, emotion and memory; the ways in which the context of viewing may mediate meaning; and how the relationship between researcher and research subject may shape the interpretative

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Kourtzi, Zoe, and Nancy Kanwisher. "Activation in Human MT/MST by Static Images with Implied Motion." Journal of Cognitive Neuroscience 12, no. 1 (January 2000): 48–55. http://dx.doi.org/10.1162/08989290051137594.

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A still photograph of an object in motion may convey dynamic information about the position of the object immediately before and after the photograph was taken (implied motion). Medial temporal/medial superior temporal cortex (MT/MST) is one of the main brain regions engaged in the perceptual analysis of visual motion. In two experiments we examined whether MT/MST is also involved in representing implied motion from static images. We found stronger functional magnetic resonance imaging (fMRI) activation within MT/MST during viewing of static photographs with implied motion compared to viewing

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Yang, Xiaolan. "The Role of Photographs in Online Peer-to-Peer Lending Behavior." Social Behavior and Personality: an international journal 42, no. 3 (April 15, 2014): 445–52. http://dx.doi.org/10.2224/sbp.2014.42.3.445.

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My purpose in this study was to evaluate the role of photographs in online peer-to-peer lending behavior. I recruited 92 college students to rate trustworthiness or emotion by viewing the photographs of borrowers on a peer-to-peer lending platform. Following this, I showed 209 college students an advertisement with a photograph and asked how much money they would be willing to lend the person in the photograph. The lending amount was higher for advertisements with a photograph rated trustworthy than for a photograph rated untrustworthy, and higher for advertisements with a photograph rated hap

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Tavakol, Reza. "The time(s) of the photographed." Philosophy of Photography 10, no. 2 (October 1, 2019): 195–206. http://dx.doi.org/10.1386/pop_00015_1.

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The relationship between the photographic and optical images and time has been the subject of great deal of debate. Despite their differences, what many of these considerations have in common is their focus on the receiver, whether mechanical (the camera), biological (the eye‐brain as the optical receiver), social or the memory and imagination of the observer. My aim here is to shift the emphasis from the receiver to the object or vista that is photographed or viewed and to explore how the constraints implied by our modern understanding of the Universe, concerning space and time, impact on the

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Grogan, Sarah, Zoe Williams, and Mark Conner. "The Effects of Viewing Same-Gender Photographic Models on Body-Esteem." Psychology of Women Quarterly 20, no. 4 (December 1996): 569–75. http://dx.doi.org/10.1111/j.1471-6402.1996.tb00322.x.

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This study was designed to investigate the effects of viewing same-gender photographic models on women and men's body-esteem. Women and men completed body-esteem scales before and after viewing pictures of same-gender photographic models (experimental group) or landscapes (control group). Women scored significantly lower than men on the body-esteem scale [ F(1, 90) = 58.5, p < .001]. Women [ F(1, 90) = 8.70, p < .05] and men [ F(1, 90) = 4.17, p < .05] in the experimental group showed a significant decrease in body-esteem after seeing the photographs and the controls showed no signifi

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Nefs, Harold T. "Depth of Field Affects Perceived Depth-width Ratios in Photographs of Natural Scenes." Seeing and Perceiving 25, no. 6 (2012): 577–95. http://dx.doi.org/10.1163/18784763-00002400.

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The aim of the study was to find out how much influence depth of field has on the perceived ratio of depth and width in photographs of natural scenes. Depth of field is roughly defined as the distance range that is perceived as sharp in the photograph. Four different semi-natural scenes consisting of a central and two flanking figurines were used. For each scene, five series of photos were made, in which the distance in depth between the central figurine and the flanking figurines increased. These series of photographs had different amounts of depth of field. In the first experiment participan

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Kratz, Corinne A. "Afterword Uncertain trajectories and refigured social worlds: the image entourage and other practices of digital and social media photography." Africa 89, no. 2 (May 2019): 323–28. http://dx.doi.org/10.1017/s0001972019000032.

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Drawn from East, West, Central and Southern Africa, the case studies in this special issue build on several decades of important work on photography in Africa. That work has examined colonial photography and postcards, studio work from colonial times to the present, activist photography, photojournalism, and artists who work with photographic images. It has addressed issues of representation, portraiture, aesthetics, self-fashioning, identities, power and status, modernities and materiality, the roles of photographs in governance and everyday politics, and the many histories and modes of socia

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Kanicki, Witold. "Wundercamera Obscura." Cabinet, Vol. 2, no. 2 (2017): 70–73. http://dx.doi.org/10.47659/m3.070.art.

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Archives abounding in collections of nineteenth-century photographs contain numerous examples of works dealing with the subject of bodily anomalies. Information about such pictures being taken used to be published on a regular basis in daily press, in which the readership were notified about photo ateliers which immortalised a variety of “monstrosities”. Although it would seem that such pictures were taken solely for scientific purposes, the many and varied contexts of their use let us link them to a much older tradition of viewing and collecting visual curiosities. Having the above facts in m

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Mullennix, John W., Grant M. Kristo, and Julien Robinet. "Effects of Preceding Context on Aesthetic Preference." Empirical Studies of the Arts 38, no. 2 (October 11, 2018): 149–71. http://dx.doi.org/10.1177/0276237418805687.

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Two experiments were conducted to examine sequential context effects on judgments of liking for artistic photographs. In Experiment 1, target photographs were preceded in a sequence by context photographs prerated for liking. The results showed that viewing time and response time for targets increased when preceded by highly liked context photographs. However, ratings of liking for targets were unaffected. In Experiment 2, target photographs were preceded by pleasant or unpleasant context photographs. An assimilation effect on target ratings was produced by unpleasant context, with targets rat

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15

Darling, Juliet. "On Viewing Crime Photographs: The Sleep of Reason." Australian Feminist Law Journal 40, no. 1 (January 2, 2014): 113–16. http://dx.doi.org/10.1080/13200968.2014.931904.

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Nieberding, William J. "On the Experience of Viewing Thomas Demand’s Photographs." Photographies 10, no. 2 (April 27, 2017): 145–55. http://dx.doi.org/10.1080/17540763.2017.1289118.

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Ashmore. "Time and Mobility in Photographs of the Northeast Industrial Landscape." Arts 8, no. 3 (September 9, 2019): 116. http://dx.doi.org/10.3390/arts8030116.

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This paper addresses documentary landscape photographs of the industrial and post-industrial Northeast of England from 1983 to 2005. Adopting a “mobilities” approach, this paper addresses these images as revealing a process, in which the movement of things and people, on multiple scales and timeframes, continually adapts space and the subjectivities of the people inhabiting it. The representation of mobility is considered in relation to issues of time in the photograph and it proposes one approaches these images not as static representations of a singular time and place but as part of an exten

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Feldmann, Rodney M. "Preparation of stereoscopic photographs." Paleontological Society Special Publications 4 (1989): 347–50. http://dx.doi.org/10.1017/s2475262200005335.

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Because many fossils are preserved in relatively high relief, that is they are not preserved on flat surfaces, it is often desirable to prepare a stereoscopic photographs which permit viewing the specimen as a three dimensional object. This could be easily accomplished by considering that stereoscopy is achieved simply by superimposing two images of an object upon one another, the images having been viewed from slightly different perspectives.

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Handley, William R. "Re-Viewing Western U.S. Rephotography in the Anthropocene." KronoScope 19, no. 2 (September 24, 2019): 153–87. http://dx.doi.org/10.1163/15685241-12341441.

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AbstractIn this paper, documentary and artistic pairings of nineteenth-century survey photographs with rephotographs from the 1970s-2000s of identical views of western U.S. sites are read within divergent temporal and historiographical paradigms about historical and geological change. Viewed and interpreted within the legacy of American technocratic “progress” and of debates about the “old” and “new” western histories, this juxtaposed work across a century speaks to shifts in historians’ paradigms about the meaning of western expansion, from optimism to tragedy, and to whether geologic and hum

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Bordeniuk, Serhii, and Viktoriia Byshovets. "Psychological Aspects of Social Photography." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 78–83. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235089.

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The purpose of the research is to analyze the main features of social photography in the psychological aspect of the photographer. The research methodology is based on the application of a system-integrated approach to the review of this problem, within the framework of which a whole range of cultural, philosophical, psychological and professional qualities that affect viewers when viewing photographs is considered. The scientific novelty lies in the analysis of modern typological features and characteristics of social photography. The opinions of scientists from different times on issues of t

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Çağlayan, Günhan. "Mathematical Lens: Reflections on Vacation Spots." Mathematics Teacher 103, no. 9 (May 2010): 638–42. http://dx.doi.org/10.5951/mt.103.9.0638.

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While viewing photographs posted online at flickr.com, Günhan Çağlayan came across one titled “Vacation in Norway” (see photograph 1), taken by Mirjam Pouw of the Netherlands. Çağlayan reflected on how the beautiful reflections in the image could be modeled with graphs of various types of functions. Ron Lancaster, a co-editor of this department, followed up on Çağlayan's ideas and offers readers the following questions for further reflection.

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Çağlayan, Günhan. "Mathematical Lens: Reflections on Vacation Spots." Mathematics Teacher 103, no. 9 (May 2010): 638–42. http://dx.doi.org/10.5951/mt.103.9.0638.

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While viewing photographs posted online at flickr.com, Günhan Çağlayan came across one titled “Vacation in Norway” (see photograph 1), taken by Mirjam Pouw of the Netherlands. Çağlayan reflected on how the beautiful reflections in the image could be modeled with graphs of various types of functions. Ron Lancaster, a co-editor of this department, followed up on Çağlayan's ideas and offers readers the following questions for further reflection.

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JARVIS, ANDREW. "‘The Myriad-Pencil of the Photographer’: Seeing, Mapping and Situating Burma in 1855." Modern Asian Studies 45, no. 4 (June 29, 2010): 791–823. http://dx.doi.org/10.1017/s0026749x09990023.

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AbstractIn the 1850s photography was a nascent technology. Linnaeus Tripe's photographs and the Burmese Konbaung polity were perceived to be new and/or novel. They were defined and interpreted in relation to things that were established and better-known, as Tripe sought to understand photography and culturally locate ‘Burma’. Tripe was not simply a ‘colonial’ functionary, but an exploratory photographer attempting to classify the subjects of visual representation—mainly Buddhist architecture—and explore photography itself. He strove to be systematic and methodical in his ‘mapping’ of locales:

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Jiang, Mingyan, Ahmad Hassan, Qibing Chen, and Yinggao Liu. "Effects of different landscape visual stimuli on psychophysiological responses in Chinese students." Indoor and Built Environment 29, no. 7 (August 18, 2019): 1006–16. http://dx.doi.org/10.1177/1420326x19870578.

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Human–plant interactions have positive effects on human health. However, the effects of plants and the environment on psychophysiological responses have not been thoroughly explored. This study examined the physiological (electroencephalography (EEG)) and psychological (the semantic differential method (SDM) and State-Trait Anxiety Inventory (STAI)) responses of adults viewing different landscape pictures. The physiological responses of 50 Chinese students were recorded by measuring blood pressure and EEG, and psychological responses were measured using the STAI and SDM. The following treatmen

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Hess, Scott. "William Wordsworth and Photographic Subjectivity." Nineteenth-Century Literature 63, no. 3 (December 1, 2008): 283–320. http://dx.doi.org/10.1525/ncl.2008.63.3.283.

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This essay argues that William Wordsworth's poetry constructs a subject position analogous to that of the photographic viewer: hence, a photographic subjectivity. Critics have often read Wordsworth's writing as opposing imagination against visibility and mimetic realism. Many of the visual structures of his poetry, however, continue the structures of the picturesque, whose desire to capture the landscape as framed image culminated in the technology of photography. These structures of perception include the stationed point of view of the observer, focusing the scene from a single location; the

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Klahr, Douglas M. "Stereoscopic Architectural Photography and Merleau-Ponty’s Phenomenology." ZARCH, no. 9 (December 4, 2017): 84–105. http://dx.doi.org/10.26754/ojs_zarch/zarch.201792269.

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Stereoscopic photography utilizes dual camera lenses that are placed at approximately the interocular distance of human beings in order to replicate the slight difference between what each eye sees and therefore the effect of parallax. The pair of images that results is then viewed through a stereoscope. By adjusting the device, the user eventually sees the two photographs merge into a single one that has receding planes of depth, often producing a vivid illusion of intense depth. Stereoscopy was used by photographers throughout the second half of the Nineteenth Century to document every build

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Jola, Corinne, Lucie Clements, and Julia F. Christensen. "Moved by stills: Kinesthetic sensory experiences in viewing dance photographs." Seeing and Perceiving 25 (2012): 80–81. http://dx.doi.org/10.1163/187847612x647018.

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Fine art can be visually pleasing or displeasing; moreover, it can touch us, move us, make us shiver or think. Thus, when looking at a piece of art, different sensory experiences may occur altogether in a multisensory cocktail. Still little is known about what evokes such particular multisensory experience in the art spectator. For instance, Calvo-Merino et al. (2008) found enhanced activity in visual and motor brain areas for dance movements that were liked more; however, these movements mostly consisted of vertical displacements of the dancers’ body. Therefore, we conducted a behavioural exp

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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.

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White, Claire, and Daniel M. T. Fessler. "Evolutionizing Grief: Viewing Photographs of the Deceased Predicts the Misattribution of Ambiguous Stimuli by the Bereaved." Evolutionary Psychology 11, no. 5 (December 2013): 147470491301100. http://dx.doi.org/10.1177/147470491301100513.

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We propose a cognitive-evolutionary model of grief where the function of grief is to reunite a person with an absent partner where this is possible, and where it is not, to disengage and reorientate the individual from the lost agent. The present study investigates the potential factors that affect reunion-promoting symptoms by focusing on the misattribution of external stimuli to the deceased by the bereaved - which we term ‘false recognitions’. We propose three factors that relate to false recognitions: First, we propose that strong attachment to the deceased predisposes one to false recogni

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Welch, Matthew, Paul Chang, and Myra F. Taylor. "Photoaging Photography." SAGE Open 6, no. 4 (October 2016): 215824401667290. http://dx.doi.org/10.1177/2158244016672906.

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One of the major sources for children to gain knowledge of skin-protective measures is from their parents. Therefore, an imperative exists for parents to model and reinforce the sun-safety practices they want their children to adopt. Although Australian mothers have been the recipients of two extensive sun-safety public health campaigns, little is known about their attitudes, behaviors, and application of health promotion knowledge toward their and their child’s ultraviolet (UV) sun exposure. Ten mothers with children aged 4 to 12 years were asked a series of questions about their sun-safety p

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Zhou, Renlai, and Senqi Hu. "Effects of Viewing Pleasant and Unpleasant Photographs on Facial EMG Asymmetry." Perceptual and Motor Skills 99, no. 3_suppl (December 2004): 1157–67. http://dx.doi.org/10.2466/pms.99.3f.1157-1167.

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ZHOU, RENLAI. "EFFECTS OF VIEWING PLEASANT AND UNPLEASANT PHOTOGRAPHS ON FACIAL EMG ASYMMETRY." Perceptual and Motor Skills 99, no. 7 (2004): 1157. http://dx.doi.org/10.2466/pms.99.7.1157-1167.

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Hong, Young J., and Dong H. Shin. "Computerized optic disc analysis with adjunct stereoscopic viewing of disc photographs." Yonsei Medical Journal 31, no. 4 (1990): 375. http://dx.doi.org/10.3349/ymj.1990.31.4.375.

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Kytö, Mikko. "Effect of camera separation on the viewing experience of stereoscopic photographs." Journal of Electronic Imaging 21, no. 1 (February 27, 2012): 011011. http://dx.doi.org/10.1117/1.jei.21.1.011011.

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Kalaugher, Patrick G. "Pseudoscopic Viewing: Transfer and Persistence of Reversed Depth Relations from the Viewing of Photographs to the Real Scene." Perception 16, no. 3 (June 1987): 359–74. http://dx.doi.org/10.1068/p160359.

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After viewing stereo pictures pseudoscopically (that is, with the pictures of the stereo-pair presented to the opposite eyes) part of the real scene depicted was perceived as inside out from the standpoint of depth during normal binocular vision. Experiments were designed to investigate this form of transfer but, since serious consequences can arise when an inside-out percept persists in normal binocular vision, it was intended that the experiments would be restricted to transfer of a less extreme kind. The scene chosen had not developed persistence during early trials but, surprisingly, one s

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Chung, Sarita, Stephen Monteiro, Sonja I. Ziniel, Leslie A. Kalish, Paula Klaman, and Michael Shannon. "Survey of Emergency Management Professionals to Assess Ideal Characteristics of a Photographic-Based Family Reunification Tool." Disaster Medicine and Public Health Preparedness 6, no. 2 (June 2012): 156–62. http://dx.doi.org/10.1001/dmp.2012.29.

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ABSTRACTObjective: A reunification tool that captures images of children at the time of the disaster would enable parents to locate their missing children, particularly if the children are unable to communicate their identity. This study assessed the ideal features and parameters of a photographic-based reunification tool.Methods: A convenience sample of federal, state, and hospital-based emergency management professionals were surveyed to elicit their preferences regarding an image-based reunification algorithm, to assess the parents' level of difficulty in viewing images with facial trauma,

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Wharton, Whitney, Fayron Epps, Mariya Kovaleva, Lindsey Bridwell, Rachanice Candy Tate, Cornelya D. Dorbin, and Kenneth Hepburn. "Photojournalism-Based Intervention Reduces Caregiver Burden and Depression in Alzheimer’s Disease Family Caregivers." Journal of Holistic Nursing 37, no. 3 (October 4, 2018): 214–24. http://dx.doi.org/10.1177/0898010118801636.

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Purpose: Art interventions have demonstrated holistic benefits for persons living with dementia and their caregivers. In this article, we describe the results of a pilot photojournalism program for 10 unpaid caregivers of persons living with dementia, with respect to caregivers’ experience in the program and their psychological well-being. Design: Caregivers participated in four sessions led by a professional photojournalist who taught principles of photography. Between the sessions, caregivers took photographs that represented what caregiving meant to them using digital cameras provided in th

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Sako, Y., K. Fujimura, M. B. McDonald, and D. James. "A system for generating virtual seeds." Scientia Agricola 55, spe (1998): 39–45. http://dx.doi.org/10.1590/s0103-90161998000500007.

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Seed analysts need to identify seeds, and seed catalogs are used as a reference to accomplish this task. Conventional seed catalogs supply two-dimensional photographs and hand-drawn diagrams. In this study, a new, three-dimensional representation of seeds is developed to supplement these traditional photographs and drawings. QuickTime VR is a promising method for viewing three-dimensional objects on a computer screen. It permits manipulation of an object by rotating and viewing it from any pre-specified angle at an interactive speed, allowing the viewer the sense of examining a hand-held objec

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Marceau, F. J., P. Rigaud, D. Huguenin, and J. Albukerque. "New stratospheric UV/visible radiance measurements." Annales Geophysicae 12, no. 1 (January 31, 1994): 44–52. http://dx.doi.org/10.1007/s00585-994-0044-1.

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Abstract. A stratospheric balloon was launched on 12 October 1986 from the "CNES" base at Aire sur l'Adour (France) to record twilight radiance in the stratosphere. The near-UV and visible radiances were continuously monitored by a photometer during sunrise. Some observations are presented for different viewing azimuthal planes and viewing elevation angles. They show the influence of aerosols layers and clouds which can be also seen on related photographs. The results as a whole may be used for testing some radiative models, especially for twilight conditions.

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Kelsey, Robin E. "Viewing the Archive: Timothy O'Sullivan's Photographs for the Wheeler Survey, 1871-74." Art Bulletin 85, no. 4 (December 2003): 702. http://dx.doi.org/10.2307/3177366.

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Rohrich, Rod J., Deborah Lee, and A. E. Ingram. "A Mobile Photo Stand for Close-Up Intraoperative Viewing of Photographs/Graphics." Plastic and Reconstructive Surgery 95, no. 1 (January 1995): 195. http://dx.doi.org/10.1097/00006534-199501000-00038.

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Sheehi, Stephen. "A SOCIAL HISTORY OF EARLY ARAB PHOTOGRAPHY OR A PROLEGOMENON TO AN ARCHAEOLOGY OF THE LEBANESE IMAGO." International Journal of Middle East Studies 39, no. 2 (May 2007): 177–208. http://dx.doi.org/10.1017/s0020743807070067.

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Viewing an exhibition of civil war paintings in 1886, Lea Barakat wrote that her “country came to mind: the splendor of its ruins, the wonders of their form like the fortress of Baalbek, the ruins of Palmyra, and the scenes of Lebanon…” Native women should paint like this, she states, and “not leave a scene [of Lebanon] unpainted… They can decorate the rooms of their homes and sitting rooms with these pictures…” She concludes that “since the ladies of our country are smarter and more industrious in their handcrafts than [American] ladies,” they too can obtain a similar level of “wealth, honora

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Wegner, Brandy S., Anita M. Hartmann, and C. R. Geist. "Effect of Exposure to Photographs of Thin Models on Self-Consciousness in Female College Students." Psychological Reports 86, no. 3_suppl (June 2000): 1149–54. http://dx.doi.org/10.2466/pr0.2000.86.3c.1149.

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The purpose of this study was to assess the immediate influence of brief exposure to images taken from print media on the general self-consciousness and body self-consciousness of 67 college women. After viewing photographs of either thin female models or control photographs, the women completed the Self-consciousness Scale and the Body Self-consciousness Questionnaire. Although α was .45, the college women who looked at images of thin female models gave immediate ratings significantly ( p < .001) higher on both general Self-consciousness and Body Self-consciousness than those who looked at

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Wegner, Brandy S., Anita M. Hartmann, and C. R. Geist. "Effect of Exposure to Photographs of Thin Models on Self-Consciousness in Female College Students." Psychological Reports 86, no. 3_part_2 (June 2000): 1149–54. http://dx.doi.org/10.1177/003329410008600314.2.

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The purpose of this study was to assess the immediate influence of brief exposure to images taken from print media on the general self-consciousness and body self-consciousness of 67 college women. After viewing photographs of either thin female models or control photographs, the women completed the Self-consciousness Scale and the Body Self-consciousness Questionnaire. Although a was .45, the college women who looked at images of thin female models gave immediate ratings significantly ( p < .001) higher on both general Self-consciousness and Body Self-consciousness than those who looked at

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Makanae, Koji, and Tadashi Fukuda. "Highway alignment planning system utilizing stereo-viewing of aerial photographs and computer graphics." Doboku Gakkai Ronbunshu, no. 590 (1998): 23–30. http://dx.doi.org/10.2208/jscej.1998.590_23.

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Biousse, Valérie, Beau B. Bruce, and Nancy J. Newman. "Ophthalmoscopy in the 21st century." Neurology 90, no. 4 (December 22, 2017): 167–75. http://dx.doi.org/10.1212/wnl.0000000000004868.

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Although the usefulness of viewing the ocular fundus is well-recognized, ophthalmoscopy is infrequently and poorly performed by most nonophthalmologist physicians, including neurologists. Barriers to the practice of ophthalmoscopy by nonophthalmologists include not only the technical difficulty related to direct ophthalmoscopy, but also lack of adequate training and discouragement by preceptors. Recent studies have shown that digital retinal fundus photographs with electronic transmission and remote interpretation of images by an ophthalmologist are an efficient and reliable way to allow exami

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Perlini, Arthur H., and Andrew D. Silvaggio. "Eyewitness Misidentification: Single vs Double-Blind Comparison of Photospread Administration." Psychological Reports 100, no. 1 (February 2007): 247–56. http://dx.doi.org/10.2466/pr0.100.1.247-256.

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Interactive effects of photospread procedures (blind administration or has knowledge of suspect identity) and presentation techniques (sequential or simultaneous photospreads) on false eyewitness identification rates were examined. Of 117 subjects (57 men and 60 women), 87 served as a witness sample and 30 as a photospread administrator sample. Witnesses viewed a 20-sec. mock robbery video prior to viewing a photospread of six photographs either simultaneously or sequentially. Half of the administrators, prior to displaying the photospreads, were made aware of the photograph of the designated

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Morioka, Shu, Michihiro Osumi, Mari Okamoto, and Atsushi Matsuo. "Effects of Facial Expression and Language on Trustworthiness and Brain Activities." International Journal of Brain Science 2015 (June 7, 2015): 1–7. http://dx.doi.org/10.1155/2015/719213.

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Social communication uses verbal and nonverbal language. We examined the degree of trust and brain activity when verbal and facial expressions are incongruent. Fourteen healthy volunteers viewed photographs of 8 people with pleasant (smile) or unpleasant expressions (disgust) alone or combined with a verbal [positive/negative] expression. As an index for degree of trust, subjects were asked to offer a donation when told that the person in the photograph was troubled financially. Positive emotions and degree of trust were evaluated using the Visual Analogue Scale (VAS). Event-related potentials

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Santiago, Fabricio R., Mario Piscoya, and Yung-Wei Chi. "Change in perception of sclerotherapy results after exposure to pre–post intervention photographs." Phlebology: The Journal of Venous Disease 33, no. 4 (October 23, 2017): 282–87. http://dx.doi.org/10.1177/0268355517736178.

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Objective To evaluate patients’ self-perception of cosmetic improvement before and after they were presented with pre- and postprocedure photographs after sclerotherapy with 75% dextrose. Methods Treatments included sclerotherapy of reticular and varicose veins using 75% dextrose. All treated limbs were photographed and classified according to Clinical, Etiology, Anatomy, and Pathology classification and Venous Clinical Severity Score pre- and posttreatment. The patients were queried before and after viewing the photos during these visits and indicated if they were very unsatisfied, dissatisfi

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Nesher, Ronit, Ioannis Zacharopoulos, Ehud I. Assia, and Joel S. Schuman. "Digitizing Stereoscopic Optic Nerve Head Photographs for Storage and Viewing Using a Personal Computer." Ophthalmic Surgery, Lasers and Imaging Retina 36, no. 4 (July 1, 2005): 327–30. http://dx.doi.org/10.3928/1542-8877-20050701-13.

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