Digital Photography Research Papers - Academia.edu (original) (raw)

Sexual selection has driven the evolution and elaboration of a wide variety of displays and ornaments in male nonhuman primates, including capes, cheek flanges, and sexual coloration. Among the most sexually dimorphic of all primates is the drill (Mandrillus leucophaeus), the males of which can be 3 times the mass of females, possess large canines, and exhibit extremely bright sexual skin coloration. However, the function of male coloration in this species has never been examined. Here, we present data on male color (measured objectively using digital photography), dominance rank, measures of male-female association, and key sexual behaviors, of adult male drills (n=17) living in four semi free-ranging enclosures at the Drill Rehabilitation and Breeding Center in Nigeria. We test the hypothesis that male coloration is a badge of status, indicating dominance rank, and the hypothesis that male coloration attracts females. We found that male coloration did indicate rank, and that high ranking, strongly colored males were more likely to associate with adult females, and more specifically with fully tumescent females. These males also engaged in more sexual activity. However, measures of male-female association and sexual behaviors were not related to male color once rank had been taken into consideration; i.e., for males of a given rank, females did not prefer those that were more colorful. We discuss the results in light of what is known about the wild drill social system, in which unfamiliar Int J Primatol (

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- Zoology, Primatology, Digital Photography, Sexual Selection

10 High-Dynamic Range Imaging for Dynamic Scenes Celine Loscos and Katrien Jacobs 10.1 Introduction................................................................ 259 10.2 High-Dynamic Range Images: Deﬁnition.................................... 261 10.3 HDR Image Creation from Multiple Exposures........ ...

- by Vishakha Chourasia
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- Photography, Digital Photography, Image Reconstruction, Exposure

Eleven PC-owning families were interviewed at home about their use of conventional and digital photos. They also completed photo diaries and recorded photo-sharing conversations that occurred spontaneously over a three month period after the in-home interviews. From an analysis of the resulting materials we illustrate the strengths and weaknesses of past and present technology for photo sharing. These allow us to prioritise user requirements for a range of future photo-sharing technologies or 'photoware'.

- by David Frohlich
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- Communication, Digital Photography, Social Photo Sharing, User Requirements

The normal impact of liquid drops onto solid, dry surfaces has been studied experimentally, using highresolution digital photography. A large number of parameters were varied in a systematic manner. The focus of this paper is the quantitative determination of the influence of these parameters on the drop spreading upon impact and on the phenomenological description of the outcomes. Dimensional similarity of the spreading can only be achieved for the very early stage of the impact process. At later stages, the number of influencing factors increases, generally precluding any universal correlation. Particular emphasis is placed on the influence of the wettability and the surface roughness on spreading.

Light Detection and Ranging (LiDAR) is a technology that has been used for years with the variety of applications including the production of digital terrain models (DTMs), and high-accuracy mapping. LiDAR offers a very detailed collection of 3-D point clouds of the earth surface which can be used in generating orthophotos. Traditional orthophoto production based on the DTM has to

- by DR ISMAIL MA'AROF
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- Computer Science, Signal Processing, Digital Photography, Production

Small-scale roughness on bare agricultural soils determines very important properties such as infiltration, runoff or soil erosion. In this work, a method based on photogrammetric tools has been developed for the generation of automatic digital elevation models (DEMs) in agricultural soils, and is compared with a method based on very accurate offthe-shelf three-dimensional (3D) laser scanners. High resolution and accurate DEMs are generated by both of these non-contact techniques on two agricultural field plots of about 0.2 m 2 : (i) untilled and smooth soil, and (ii) very cloddy tilled surface. Furthermore, classical microrelief parameters such as Random Roughness and Maximum Depressional Storage are computed from grid DEMs obtained by laser scanning and close-range photogrammetry. Both techniques are compared on agricultural soils in terms of data acquisition and analysis performance, resolution, accuracy, and capability of representing microrelief and for computing microrelief parameters. Both the techniques tested have proved able to generate, under ideal conditions, DEMs with high accuracy (standard deviations of the residuals were 0.121 mm and 0.467 mm for laser and photogrammetry, respectively) and resolution (about 0.4 mm for laser scanning and 1 mm for the photogrammetric method). It is also worth noting that soil DEMs can be generated by both methods in less than 2 h, using devices in field assays that are not too expensive. Laser scanning produces a far more detailed surface allowing it to reproduce smaller aggregates than the photogrammetric method. On the other hand, data acquisition is faster with digital photogrammetry. The worse performance with either method happens when they are used on a rougher type of soil. Regarding the proposed non-contact methodologies, field soil microrelief can be attained in a fast, accurate, and economic way. In addition, the microrelief parameters computed from agricultural soil grid DEMs by laser scanning and photogrammetry show quite similar values. (M.A. Aguilar).

- by Fernando Aguilar
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- Engineering, Bioengineering, Biomedical Engineering, Photogrammetry

Anthropological archives employ norms of originality and authenticity, which digital reproduction possibly undermines. The accessibility that digitization implies offers new prospects of appropriating a shared cultural heritage. The stark contrasts that evolve through multiple re-readings of anthropological archives call hegemonic discourses about the authenticity of the original and its value as historic material into question. In an Indian case study digitization forms the basis for a performative interpretation of visual archives. The perceivers foreground ancestral worship and the mnemonic characteristics of the photographs. Reaching beyond intercultural encounters, preservation, and accessibility they challenge the institutionalized foundations of interpreting and meaning-making of anthropological records.

- by Katja Müller
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- Photography, Digital Photography, Digitization, Adivasi Studies

We introduce a new metric, the visible signal-to-noise ratio (vSNR), to analyze how pixel-binning and resizing methods influence noise visibility in uniform areas of an image. The vSNR is the inverse of the standard deviation of the S-CIELAB representation of a uniform field; its units are 1/ΔE. The vSNR metric can be used in simulations to predict how imaging system components affect noise visibility. We use simulations to evaluate two image rendering methods: pixel binning and digital resizing. We show that vSNR increases with scene luminance, pixel size and viewing distance and decreases with read noise. Under low illumination conditions and for pixels with relatively high read noise, images generated with the binning method have less noise (high vSNR) than resized images. The binning method has noticeably lower spatial resolution. The binning method reduces demands on the ADC rate and channel throughput. When comparing binning and resizing, there is an image quality tradeoff between noise and blur. Depending on the application users may prefer one error over another.

- by Brian Wandell
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- Engineering, Computer Science, Digital Photography, Image Quality

Despre arhive digitale în general / o colecție foto în particular.

- by Liviu-Ovidiu Pop
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- Digital Humanities, Digital Literacy, Digital Photography, Digital Media
- by Edgar Gómez Cruz
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- Photography, Digital Photography, Street Photography

It has been proven that Logarithmic Image Processing (LIP) models provide a suitable framework for visualizing and enhancing images acquired by digital photography of analog scenes. To the well-known existing models, we add a new one and, by means of comparison, we shall prove its superior behaviour in tools that allow enhancing the dynamic range and the feature visibility for photographed analog X-ray images of uncemented total hip prostheses.

- by Laura Florea
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- Image Processing, Digital Photography, X-ray imaging, X Rays

The high level context image analysis regards many fields as face recognition, smile detection, automatic red eye removal, iris recognition, fingerprint verification, etc. Techniques involved in these fields need to be supported by more powerful and accurate routines. The aim of the proposed algorithm is to detect elliptical shapes from digital input images. It can be successfully applied in topics as signal detection or red eye removal, where the elliptical shape degree assessment can improve performances. The method has been designed to handle low resolution and partial occlusions. The algorithm is based on the signature contour analysis and exploits some geometrical properties of elliptical points. The proposed method is structured in two parts: firstly, the best ellipse which approximates the object shape is estimated; then, through the analysis and the comparison between the reference ellipse signature and the object signature, the algorithm establishes if the object is elliptical or not. The first part is based on symmetrical properties of the points belonging to the ellipse, while the second part is based on the signature operator which is a functional representation of a contour. A set of real images has been tested and results point out the effectiveness of the algorithm in terms of accuracy and in terms of execution time.

- by Giuseppe Messina
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- Algorithms, Image Processing, Computational Complexity, Digital Photography

Phenology shows sensitive responses to seasonal changes in atmospheric conditions. Forest understory phenology, in particular, is a crucial component of the forest ecosystem that interacts with meteorological factors, and ecosystem functions such as carbon exchange and nutrient cycling. Quantifying understory phenology is challenging due to the multiplicity of species and heterogeneous spatial distribution. The use of digital photography for assessing forest understory phenology was systematically tested in this study within a temperate forest during spring 2007. Five phenology metrics (phenometrics) were extracted from digital photos using three band algebra and two greenness percentage (image binarization) methods. Phenometrics were compared with a comprehensive suite of concurrent meteorological variables. Results show that greenness percentage cover approaches were relatively robust in capturing forest understory green-up. Derived spring phenology of understory plants responded to accumulated air temperature as anticipated, and with dayto-day changes strongly affected by estimated moisture availability. This study suggests that visible-light photo-graphic assessment is useful for efficient forest understory phenology monitoring and allows more comprehensive data collection in support of ecosystem/land surface models.

- by Songlin Fei
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- Photography, Digital Photography, Biometeorology, Linear models

Almost two hundred years after its invention, photography at the beginning of the current century reinvented, changing from something material to immaterial. Digital photography has democratized in popular culture where it is present in all segments of society. This immateriality of photography may have irreversible consequences for the historical legacy of humanity. Analog photography must have its advantages in this new era, such as a better conception and artistic appreciation of the environment, the preservation of the image as material and the family and social historical legacy. The methodology used for this article was bibliographic, since there are numerous publications on the topic proposed here. Analog photography has its place in this digital age despite relegated to the neglect; it is of great value for the preservation of photography itself and world history.

- by Valdir Barbosa
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- History, Photography, Digital Photography, History of Art

Abstract Graphic Design students learn and practice design theories to articulate their creative ideas through design project management. In doing so they follow design methodology considering current design trends and technology to execute the project which includes; research, strategy, planning and final design. This helps the students to develop design communication and analytical skills for their career in creative and cultural industries. This study focuses on a publication design ‘Thaipatra' - a Catalogue on Traditional Thai Costume. This publication is designed using digital technology, has a functional and cultural meaning. The objectives of the study are; to promote Thai costume and traditions; cultural heritage management and standardization of documents; and to customize information system which meet the administrative requirements. This project is to inspire young Thai generation influenced by globalization to look at Thai costume as a national heritage. It is an interdisciplinary approach to promote fashion of a culture through graphic design.

DELGADO-FERNANDEZ, I.; DAVIDSON-ARNOTT, R., and OLLERHEAD, J., 2009. Application of a remote sensing technique to the study of coastal dunes. This paper reports on a remote sensing station specifically designed to investigate eolian processes at a beach-dune system. The monitoring station is located at Greenwich Dunes, Prince Edward Island National Park, Prince Edward Island (Canada), and it is the second, improved generation of a previous system using continuous video and photographs. The setup consists of three digital single-lens reflex cameras, a two-dimensional sonic anemometer, two safires, erosion-deposition pins, and an array of batteries and solar panels. The cameras run on a timer that takes pictures every hour. The images are rectified and analyzed using a combination of ArcMap 9.2 and PCI Geomatica software, which permits the generation of moisture maps, vegetation, ice and snow cover, shoreline position, and erosion-deposition processes. The two-dimensional sonic provides continuous wind speed and direction, and the saltation probes record the intensity of transport events. The result is a large geodatabase of a time series of factors affecting eolian processes at the beach at a variety of temporal and spatial scales. This geodatabase can be queried, and it is a valuable tool for studying the frequency and magnitude of events delivering sediment from the beach to the dune and thus for improving our knowledge of sediment transport at coastal areas. Although the remote sensing station was initially conceived as a tool to measure subaerial processes, a full year of measurements shows large potential for the system to provide information on processes at the nearshore environment and ice dynamics.

- by Jeff Ollerhead and +1
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- Engineering, Earth Sciences, Remote Sensing, Digital Photography

The interactions between playa hydrology and playa-surface sediments are important factors that control the type and amount of dust emitted from playas as a result of wind erosion. The production of evaporite minerals during evaporative loss of near-surface ground water results in both the creation and maintenance of several centimeters or more of loose sediment on and near the surfaces of wet playas. Observations that characterize the texture, mineralogic composition and hardness of playa surfaces at Franklin Lake, Soda Lake and West Cronese Lake playas in the Mojave Desert (California), along with imaging of dust emission using automated digital photography, indicate that these kinds of surface sediment are highly susceptible to dust emission. The surfaces of wet playas are dynamic -surface texture and sediment availability to wind erosion change rapidly, primarily in response to fluctuations in water-table depth, rainfall and rates of evaporation. In contrast, dry playas are characterized by ground water at depth. Consequently, dry playas commonly have hard surfaces that produce little or no dust if undisturbed except for transient silt and clay deposited on surfaces by wind and water. Although not the dominant type of global dust, salt-rich dusts from wet playas may be important with respect to radiative properties of dust plumes, atmospheric chemistry, windborne nutrients and human health. Lake playas) in the Mojave Desert are dynamic and at times are vulnerable to wind erosion and dust emission when sufficiently soft and (or) loose. Surface sediments at dry playas, on the other hand, are typically stable and hard and thus generally do not emit large amounts of dust when undisturbed by human activities. The emphasis of this report is on the hydrologic and sedimentologic interactions that may sustain dust production from wet playas.

- by Richard Reynolds
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- Geology, Atmospheric Chemistry, Digital Photography, Public Domain
- by William J Simmons
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- Photographs, Photogrammetry, Photography, Digital Photography

Tekst był publikowany w: „Kultura Współczesna” 2016, nr 4.

Whatever we say today in a mediated form, it’s like a watermarked image from a data bank: it comes with the signature mark of the tool used to say it, be it a mobile phone or a social network, a photo-editing software or a drum machine. There is no easy way out. And so, Che fare?
Along the Sixties, for the first time artists realized that language and media didn’t belong to them anymore. Reactions spanned from creating new languages and media, to exploring failures and mistakes in commercial media, to appropriation and détournement as tactics of resistance. This way, art acquired a new social function, which is, in my opinion, the main function of art in contemporary society: to set language free, or at least to raise awareness about its current condition. To show that, behind any Photoshop filter, web page design, video effect, game engine there is an ideology; and that any improvement to our ability to communicate also acts as a limitation, an attempt to control, regulate, normalize the signal.
Dutch artist Constant Dullaart takes this mission very seriously, and pursues it with the most simple, effective means.

- by Domenico Quaranta
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- Photography, Digital Photography, Contemporary Art, New Media Art

Am Ausgangspunkt meiner Überlegungen stehen die Erfahrungen des Materiellen, Haptischen und Räumlichen. Fotografien im Archiv als historische Quellen analytisch zu fassen ist untrennbar mit eben diesen Eindrücken verzahnt, weil sie auf einen Herstellungs-und Wahrnehmungsraum verweisen. Daher sollen Fotografien zusammen mit ihrer Umgebung als kognitive Artefakte in den Blick genommen werden. 3 Dabei spannt sich ein Fragekomplex auf, der die Beziehungen von Fotografien mit den sie umgebenden kommerziellen Archiven ins Zentrum des Interesses rückt. Meine These ist, dass die in der Transformation vom analogen zum digitalen Archiv jeweils verwendeten Archivierungstechniken den Zugriff auf sowie die Übersicht und Verwaltung der Fotografien verändert haben. Anhand der Archivbestände des Schweizer Ringier-Verlags und der Fotoagentur Keystone lässt sich zeigen, dass die Verwertbarkeit dieser Bilder immer an die materiellen, medial-technischen Ausprägungen der Archive rückgebunden ist.

- by Mirco Melone
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- Archival Studies, Photography, Database Systems, Digital Photography

For a long time, the study of photography has been a part of Art studies or a mere object of philosophical investigations. Yet, after the advent of digital technologies it progressively became central in Media and Communication studies. From the 2000s onwards, various social and technological events made photography more accessible, ubiquitous, public, cheap, democratic, immediate and shared than ever before, paving the way to a renewal of photographic experience. New objects, formats, devices, practices and uses emerged as specific traits of a ‘performative’ photographic agency. This emergence is allowed by the fact that photography, despite being one of the most ancient media, still shapes our lives, empowers our biological vision, and enhances our imaginative visual practices. The editors of this issue, Adriano D’Aloia and Francesco Parisi, propose the term ‘snapshot culture’ to refer to the combination of technological, aesthetic and practical shifts in contemporary photographic experience. Snapshot culture is characterized by a twofold dynamic: the persistence of the original traits of the photographic experience as it emerged and developed, coupled with the modulation of new opportunities offered by technological improvements and social changes. Indeed, the digitalization of photographic aesthetics and related media practices provides an ideal case for studying some of the most challenging developments in visual media aesthetics within the broader landscape of the post-medium condition and for reflecting on how photography theory has responded to such challenges in the post-theory era. This special issue offers a critical investigation of photography’s ‘persistence’ in the media experience through both an analysis of concrete objects and phenomena (e.g. selfies, animated GIFs, social networking, computational photography) and the refinement of theoretical approaches to photography.

- by Adriano D'Aloia and +1
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- Media Studies, Photography, Digital Photography, Social Networking

The case of Bridgeman Art Library v. Corel Corp (1999) provides a useful prism through which we may analyse the application of copyright law in relation to concepts such as originality and the Public Domain. An extensive discussion of the minutiae of the case is beyond the scope of this study, particularly in view of the fact that many commentators such as Garnett (2000), Deazley (2001), and Matz (2000) have thoroughly dissected it in the past. This paper focuses instead on the long-term impact this ruling has had on industry practices, policy, the Public Domain and copyright law.

- by Alice Atkinson-Bonasio
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- Photographs, Intellectual Property, Photography, Creativity

My book, Digital Prohibition: Piracy and Authorship in New Media Art, was published by Continuum International Publishers (named the top academic press in Britain this year) in 2012. It starts from the premise that the new changes in copyright law are functioning as a new Prohibition, that is to say as something that it so unpopular, so untenable and so unenforceable that it is only a matter of time before public backlash destroys the current corporate monopoly on creativity. This is the first book to discuss the global politics of creative work and emergent models of authorship in a digital age. The book examines the creation of new media forms by artists and groups who use technology to challenge established models of creation. It starts from the premise that creativity is no longer a useful concept in an age of data glut and perfect copies; instead we must now think of creative practice as a kind of creative critique that repurposes existing materials in order to explore the nature of media and how they affect us. It does this through three different aesthetic approaches: interruption (stoppage and repetition), disturbance (critique and event), and capture/leakage (performance and documentation). The book is wide-ranging in its definition of authorship, exploring methods as diverse as sampling, mashups, hacktivism, machinima, social media, tactical media, productive mistranslation, and digital anthropophagy. It includes extensive research in Asia (Japan, Indonesia, Thailand, India, and especially China and Pakistan) to see how and what creative practices flourish when they are not fettered by copyright regulations.

- by Carolyn Guertin
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- Music, New Media, Digital Photography, Digital Media
- by Maria Paschalidou
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- Image Processing, Photography, Digital Photography, Conceptual Art

The paper deals with the concepts of fragmentation and reconstruction in the field of portraiture. Taking a portrait as a large fragment of information, we look into ways in which it can be optimised and reduced such that it remains valid but becomes more efficient. The paper commences by exploring the concept of the fragment from various facets, including historically, especially from the modernist point of view, and goes forth to investigate various techniques from practices both adjunct and outside of the field of art in order to inform the portraiture process itself on how information can be collected, optimised and presented to the viewer.

- by Sergio Muscat
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- Creative Writing, Critical Theory, Visual Studies, Photographs

Due to the high variability and complex colour distribution in meats and meat products, the colour signal calibration of any computer vision system used for colour quality evaluations, represents an essential condition for objective and consistent analyses. This paper compares two methods for CIE colour characterization using a computer vision system (CVS) based on digital photography; namely the polynomial transform procedure and the transform proposed by the sRGB standard. Also, it presents a procedure for evaluating the colour appearance and presence of pores and fat-connective tissue on pre-sliced hams made from pork, turkey and chicken. Our results showed high precision, in colour matching, for device characterization when the polynomial transform was used to match the CIE tristimulus values in comparison with the sRGB standard approach as indicated by their DE Ã ab values. The [3 Â 20] polynomial transfer matrix yielded a modelling accuracy averaging below 2.2 DE Ã ab units. Using the sRGB transform, high variability was appreciated among the computed DE Ã ab (8.8 ± 4.2). The calibrated laboratory CVS, implemented with a low-cost digital camera, exhibited reproducible colour signals in a wide range of colours capable of pinpointing regions-of-interest and allowed the extraction of quantitative information from the overall ham slice surface with high accuracy. The extracted colour and morphological features showed potential for characterizing the appearance of ham slice surfaces. CVS is a tool that can objectively specify colour and appearance properties of non-uniformly coloured commercial ham slices.

- by Fernando Mendoza
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- Chemical Engineering, Computer Vision, Meat Science, Digital Photography

This thesis charts the shifts in metaphors of memory associated with the digitization of personal photography -from "archiving" to "sharing" -developing a strong account of the role of metaphor in shaping cultural conceptions and material technologies of memory making in relation to photography. Early discourse surrounding the emergence of photography heralded the camera as a medium capable of capturing the imprinted trace (light) of the real. By extension, photography has routinely been figured as an essential means through which "the social" can be captured, framed, communicated, and distributed, with personal photographs historically positioned as visual "archives" of the self. Underlying this are specific metaphorical conceptions of the relationships between human memory, reality and representation. This thesis considers how metaphors of the "memory-archive" have naturalized historically specific ideas about human memory which have in turn come to serve as models for the design and ongoing use of photographic technologies. This thesis argues for a sociology of metaphor, which can account for the ideological potential of metaphor in constructing a specific paradigm of memory, while advancing the material consequences of metaphor as a constitutive agent that enables and constrains the possibilities for memory making. The thesis focuses upon the metaphoric shifts from analogue preservation or "archiving" to online distribution or "sharing" within digital landscapes. The central chapters of the thesis consider the ways in which particular metaphors of memory -as archive, as distributed, as shared -are materialized as technologies, in this case photographic media. By exploring three key technologies -the Kodak EasyShare Camera, Cloud Computing, and the Instagram Application -the thesis iii examines the ways in which new metaphors of memory and of the social are becoming materially embedded. The thesis further reveals residual anthropocentric ideas of memory and technology, which continue through metaphors of photo-sharing which further disguises the role of the "technological unconscious" in shaping potential memories.

- by Sonja Solomun
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- Sociology, Cultural Studies, New Media, Media and Cultural Studies

Start up guide for Photography.

- by Stany Fernando
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- Photography, Digital Photography, Fashion Photography, Landscape Photography
- by Ömer Koçak
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- Landscape Ecology, Photography, Digital Photography, Landscape Archaeology

Digital photography is contributing to the
renegotiation of the public and private divide and to
the transformation of privacy and intimacy, especially
with the convergence of digital cameras, mobile
phones, and web sites. This convergence contributes
to the redefinition of public and private and to the
transformation of their boundaries, which have al-
ways been subject to historical and geographical
change. Taking pictures or filming videos of strangers
in public places and showing them in webs like Flickr
or YouTube, or making self-portraits available to
strangers in instant messenger, social network sites, or
photo blogs are becoming a current practice for a
growing number of Internet users. Both are examples
of the intertwining of online and offline practices,
experiences, and meanings that challenge the traditional
concepts of the public and the private. Uses of digital
images play a role in the way people perform being a
stranger and in the way they relate to strangers, online
and offline. The mere claims about the privatization of
the public space or the public disclosure of intimacy do
not account for all these practices, situations, and
attitudes, as they are not a simple translation of
behaviors and codes from one realm to the other.

- by Edgar Gómez Cruz and +2
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- Media Sociology, New Media, Digital Photography, Subjectivities

For the first time in the history of photography, digital photographers can now experiment with photographic effects and immediately review the results. This capability, which is crucial for experimentation, opens up a new world of imagery with slow shutter speeds that 'paint' light in a variety of ways. Yet some people believe that the effects of movement in slow-exposure photography are about the same and accidental. Nothing could be further from the truth. There is a quite sophisticated vocabulary, a physics of light and motion, that can be understood and once understood is not accidental. This eBook details the ways these different motions are registered on photographs and the new artwork that is now possible -- work that has its roots in modern art.

- by Rick Doble
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- Art History, Art, Art Theory, Photography

Facebook contains the largest digital photo archive currently on the web. In this paper I explain how Facebook's digital photography application shape social reality, by focusing on the 'tag suggestions' (facial recognition technology)... more

- by Kelly Mostert
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- New Media, Digital Photography, Digital Media, Facebook

FloridaMyEden.com is Infrared photography by A.E. Samaan of the flora, fauna, and Architecture in the State of Florida. The intense sunshine makes Florida the perfect place to photograph with InfraRed film or digital cameras. FOR MORE... more

- by A.E. Samaan
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- Digital Photography, Digital Media, Contemporary Art, Digital Arts

Esta tese de doutorado coloca em questão os autorretratos digitais comumente nomeados enquanto “selfies” como práticas que revelam diferentes modos de experimentação cotidiana. O objetivo principal, portanto, é seguir a experiência relacionada à produção de fotografias digitais chamadas selfies. O direcionamento para a pesquisa não está na investigação do caráter imagético da selfie, ou na exploração de redes sociotécnicas associadas ao dispositivo fotográfico, mas em sua constituição enquanto prática – cotidiana, situada e em constante transformação através da experiência. A partir de um diálogo com o empirismo radical de William James, apresenta-se o problema em termos de suas consequências práticas: O que constitui, em termos práticos, fazer uma selfie? Quais as diferenças localizadas produzidas ao se pensar na selfie não como um tipo de imagem, mas como uma prática? Ou seja: através de quais processos a prática de selfie se constrói em um cotidiano fotográfico? São essas questões, conjuntamente com uma proposta de seguir a experiência, que guiam a construção de uma investigação realizada enquanto uma etnografia diante da prática de selfie. Dessa forma, traça- se um modo de seguir a experiência que se desenvolve no rastreamento das diferenças práticas, em um caráter processual de propagação e conexão a partir de novas experiências, e na constituição de um trajeto a ser seguido. O ponto de partida para a investigação localiza-se em uma praça, na qual começa-se a observar e interagir – considerando os espaços geográficos e digitais como um contínuo ambiente de observação – com diferentes práticas de selfie. A partir dessas primeiras observações, as possibilidades de novos caminhos passam a ser delineados, e começa-se a acompanhar o cotidiano fotográfico de diferentes pessoas que se tornam, aos poucos, personagens etnográficos. Essa trajetória, de seguir a experiência conjuntamente com os personagens, demonstra uma prática de selfie que se constrói nas diferenciações cotidianas e modos de experimentação que passam pelas maneiras através das quais se desenvolvem: negociações entre vergonha e visibilidade; co-construção de práticas através de performatividades algorítmicas; possibilidades conversacionais em práticas material- discursivas; e modulações da intimidade em experiências afetivas. Aponta-se, ainda, que esses modos são transpassados por um trajeto de aprendizagem de relatar a si mesmo, através do qual a selfie vai se constituindo enquanto prática. É nesse sentido, em conjunto com as particularidades da prática cotidiana de selfie apresentadas em cada capítulo, que se propõe (e experimenta-se) uma tomada de posição investigativa baseada na experiência – e, através dela, argumenta-se e chama-se atenção para a necessidade de aprender a articular modos possíveis para segui-la levando em consideração as produções de diferença práticas.

- by Leonardo Pastor
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- Anthropology, Communication, Pragmatism, Photography

In the digital age journalists are becoming more susceptible to the packaged visuals of politicians that image handlers are pushing electronically in an attempt to circumvent and influence the mainstream media. These managed photos and videos communicate officialdom, voyeurism and pseudo-events, ranging from routine government business to a personal side of political leaders. They are designed to frame the subject in a positive light and to promote a strategic image. This paper submits that demand for digital handouts of visuals, or 'image bytes', is stimulated by economics and institutional accommodation, including the constant need for Web content and journalists’ eroding access to government officials. A profile of the image management of Prime Minister of Canada Stephen Harper illustrates the jockeying between politicians, PR staff and journalists over news selection, pseudo-events, framing and gatekeeping. Insights from 32 interviews with Canadian journalists and Conservative party insiders suggests that a two-tier media system is emerging between the small news operations that welcome digital handouts and the mainstream journalists who are opposed. Theoretical themes for international research include examining the implications of political image bytes such as the possible priming effect on journalists who are exposed to constant visual e-communication pushed by political offices.

Digital photographs function in an entirely different way from traditional photographs. Or do they? Shall we accept that digital imaging represents a radical rupture with photography? Is an image, mediated by computer and electronic technology, radically different from an image obtained through a photographic lens and embodied in film? If we describe film-based images using such categories as depth of field, zoom, a shot or montage, what categories should be used to describe digital images? Shall the phenomenon of digital imaging force us to rethink such fundamental concepts as realism or representation?
In this essay I will refrain from taking an extreme position of either fully accepting or fully denying the idea of a digital imaging revolution. Rather, I will present the logic of the digital image as paradoxical; radically breaking with older modes of visual representation while at the same time reinforcing these modes. I will demonstrate this paradoxical logic by examining two questions: alleged physical differences between digital and film-based representation of photographs and the notion of realism in computer generated synthetic photography.
The logic of the digital photograph is one of historical continuity and discontinuity. The digital image tears apart the net of semiotic codes, modes of display, and patterns of spectatorship in modern visual culture - and, at the same time, weaves this net even stronger. The digital image annihilates photography while solidifying, glorifying and immortalizing the photographic. In short, this logic is that of photography after photography.

- by Lev Manovich
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- Photography, Digital Photography, Digital Media, Digital Culture

The Window to the Soul : Eyes in Art History
(from Painting to Photography / from Da Vinci to Korda) by Vladimir Alexander Smith/ Abstract
According to scientists: “the eyes really are a window to the soul, patterns in the iris can give an indication of whether we are warm and trusting or neurotic and impulsive.” What about in Art? "what is of interest to us - said Pablo Picasso - is the drama of the man that lies behind the eyes." what is the Soul? it can refer to both the immaterial and material aspects of humanity. Indeed, the word “soul” means “life” and the eagerness to sin. The many interpretations and experiences of the artist involve both the eye and the mind, imagination and reality. In other words, the optical is intimately related to the subconscious. The present paper is a compilation of “the eyes” in Art history.

- by Vladimir A Smith-Mesa
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- Art History, Film Studies, Photography, Digital Photography
- by Suresh Kamal Kamalasekaran
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- Digital Photography, Documentary Photography

INTRODUCTION. There are various multimedia applications for anatomy education. However, many applications lack three-dimensional (3D) images and some even compromise accuracy. Furthermore, few applications include 3D study aids produced directly from anatomical donors. Photogrammetry utilizes photography to determine distances between objects and is an underutilized technology in anatomy education. Photogrammetry coupled with computer software can use two-dimensional images captured by a still camera to create 3D digital models. The software uses overlapping images to tie points together in order to generate a 3D model. RESOURCES. A protocol for photography of human anatomical models/specimens and subsequent digital construction of 3D models was developed using a Nikon® D7100 HDSLR camera and Agisoft PhotoScan© software. DESCRIPTION. This novel study aims to utilize photogrammetry to produce 3D models for anatomy education and to digitally curate specimens. SIGNIFICANCE. The resulting models can offer students the convenience of study from satellite locations, which would give students the option to study anatomy in a variety of settings as well as the ability to minimize distractions. They could also lessen and possibly phase out wait time to study in a cluttered model room or anatomy lab by directly affecting the number of students present. Additionally, anatomical specimens or whole body donors that cannot be permanently curated may be electronically recorded for future study. Finally, the relative cost effectiveness and portability of a photogrammetry setup make it a practical and viable option compared to other 3D model producing devices, such as laser scanners or medical imaging equipment. Future work will entail creating a repository of digital models and implementing them in anatomy classes.

- by Adam Kolatorowicz
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- Photogrammetry, Digital Photography, Human Anatomy, Anatomy Education

Les uses et pratiques liés aux technologies numériques font partie aujourd’hui des processus d’incarnation,
des devenirs des corps, de ce qui signifie avoir, acquérir et être un corps. Ces médiations technologiques particulières
contribuent doublement à inscrire les corps : d’une part leurs traces sont inscrites dans des dispositifs numériques, et
de l’autre ces médiations contribuent à la création d’habitudes, gestes, perceptions et mouvements qui donnent forme
aux corps. Ces médiations, qui font partie des processus de subjectivation et sont étroitement liées aux formes
d’affectivité, sont explorées dans le cas particulier de la pratique des autoportraits numériques et leur présence
croissante dans le web.

- by Amparo Lasén
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- Media Sociology, Digital Humanities, Digital Photography, Digital Media

In the new era, with the advancement of technology and the pace in construction, time doesn't allow sketching and manual drawing of buildings and even in the case of overcoming this matter, it is difficult to seek the limitations of manual drawing and natural desire of human being to observe the facts clearly. In fact, if the camera and the art of photography were not around, we would not have a clear understanding of the constant architectural works in various parts of the world such as a remote village in a lesser-known country to the center of New York's Manhattan. Therefore, with respect to such issues, it is significant for us to recognize the necessity and requirement for photography in architecture. An architect photographer needs to be familiar with the principles and techniques of photography, grasp the history of architectural arts and understands the elements of Architecture in urban planning in a way that the result of his photography becomes influential and different from the work of others. Thus, dealing with two issues photography and architecture the away that are in one line in principle and coordination, can play a significant role in arts and industry in different fields. This research has been conducted in a descriptive-analytical manner through observation, library materials and field studies. The results of this research illustrates that the registration and understanding of architectural images can play a significant role in visual perception of the environment.

cameras allow more consumer-friendly usage of digital cameras. Moreover, with a suitable application layer software, digital photographs can be sent directly from the camera to a desired target: disk storage, printer, web site, as an e-mail message or web print, using a single, purpose-designed, communication protocol: the Picture Transfer Protocol, PTP.

- by Irina Mocanu
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- Digital Photography, Manufacturing, Digital Control, TCP IP

This essay focus on User Generated Content and Web 2.0 technologies in digital public history projects. A new frontier in public history practices and how to govern shared authority in the web is at stake. In the digital realm, public historians’ professional methods and codes are rewritten and reinterpreted and, because of new digital technologies, new practices have to be mastered to adapt to social media. International examples of digital projects with Big Data’s’ and crowdsourcing activities are showcased. Two different social media, Twitter and HistoryPin are inquired because of the use of documents (mainly photographs) and of specific techniques that activate the past into the present (“presentism”) in digital public history projects about WW1.

- by Serge Noiret
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- Photography, Digital Photography, Public History, Social Media
- by Jonathan Sandler
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- Digital Photography, Documentation, Questionnaires

El amplio desarrollo y popularización del uso de las tecnologías digitales en el campo de la fotografía ha sido aplicado, de forma muy notable, en el campo de la fotografía de moda y ha dado resultados muy evidentes en la construcción de la imagen de la mujer en el discurso publicitario. En efecto, la herramienta de postproducción digital en fotografía más popular, el conocido programa Adobe Photoshop, ha pasado a ser la herramienta de trabajo habitual entre los profesionales de la fotografía, que ha contribuido a construir una imagen absolutamente idealizada e irreal del cuerpo femenino. Este trabajo propone realizar una exploración preliminar sobre la problemática con el objetivo de elaborar unos niveles de intervención que permitan constatar los mecanismos de creación de un cuerpo femenino idealizado a través de las nuevas tecnologías. Como respuesta a esta tendencia analizaremos también propuestas alternativas que ponen en valor la belleza real de la mujer. La hipótesis de trabajo de la que partimos es que la intervención digital en la fotografía de moda es, en parte, responsable de la creación de un canon de belleza femenina alejado de realidad con la que se busca dotar de espectacularidad la imagen para generar una imagen de marca más potente y reforzar el estilo del propio fotógrafo. Los resultados permitirán preparar la segunda fase de la investigación, donde se realizarán entrevistas en profundidad a profesionales del sector y agentes sociales. El trabajo concluirá con una reflexión sobre la importancia de la fotografía como potente constructora de imaginarios y la responsabilidad del discurso publicitario ante estas prácticas.

- by Javier Marzal-Felici
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- Photography, Digital Photography, Fashion Photography, Photography Theory