Questions related to Photography
in terms of the academic inquiry, i am interested in ekphrastic poetry, which is an interdisciplinary genre connecting poetry to art (painting, sculpture, pictures, captions, photography). i am wondering if you could name some poets (from various nationalities) who are indulged in such writings.
moreover, regarding the technical question, how can i be a member of your highly esteemed project?
I have written a paper addressing the issue of automatic colorization of black and white photographs. The perspective is an ethical one that addresses both pros and cons. Now I am searching for a peer-reviewed paper to publish my essay.
If you have any recommendations, I would be more than happy to see them.
Details about the paper:
Style: APA 7
As the question states, I am currently doing some revisions for a paper on personal branding for artists. Although I have found enough theory in the influencer marketing area, I am interested in more narrowly focused work that focuses on graphic artists and fine art photographers. I am looking for literature references that address the position of the artist in a marketing-driven world. References can be doctoral dissertations, master thesis, bachelor thesis, or articles (not earlier than 2018).
I address this dilemma to historians and anthropologists. Is it or is it not beneficial to colorize archival photographs using artificial intelligence? When I first discovered this possibility it all seemed beneficial, but after reading more I also saw ethical challenges. I am interested in the perspective of historians and anthropologists, and I am looking for further literature recommendations.
Some researchers reject the idea of using only high definition pictures for species description but, at least in my case, I find that high definition pictures provides more nformation than most of the drawings and, of course, do not depend on the researcher´s artistic talent.
Sometimes the advance technologies like CT Scan and MRI are available. But the competency to read the results is lack. According to big data technology, is it possible to construct "translation machine" or "scanner" for CT Scan or MRI "graphs/ pictures" into diagnostics statement that can be understood for the common ones ?
What is your attitude to paranormal and scientifically unexplained? For example, how do you rate alleged reports of extraterrestial reasonings on Earth, allegedly drawn by aliens on arable fields? How do you rate cases of UFO photography, allegedly found traces of ice man, photos of a plesiosaur allegedly inhabiting Loch Ness, etc.?
Do you think these unexplained phenomena should be researched and scientifically explained whether they are fakes and there is no point in researching such topics?
I invite you to the discussion
150 apoios no site do Senado Federal para a Fotografia Forense como disciplina da Ciência Forense Brasileira.
A votação segue até 26 de março de 2019. São necessários 20 mil apoios para que a ideia legislativa seja discutida entre os senadores.
O trabalho foi publicado na #RevistaBrasileiradeCriminalística #RBC e apresentado na #InterForensics2017.
"#Segurança é #bemcomum e #responsabilidadedetodos."
Apoie a #FotografiaForense como disciplina da #CiênciaForenseBrasileira. 🙏
A fotografia precisa de representação legal em auxílio à justiça.
O link de votação é este 👍https://www12.senado.leg.br/ecidadania/visualizacaoideia?id=116847
Are there any technologies for creating a digital model of a river channel based on unmanned aerial photography (UAV)?
For part of my research I am attempting to assess the abundance and diversity of crustaceans in an aquatic habitat. I intend to take picture of the specimens once collected before they are preserved and lose their colour. I mainly wanted to know if there were any specific guideline to taking taxonomic photographs of shrimp e.g. how it should positioned/oriented, should the appendages be positioned in a specific way as well?
- When human perception of society is so largely primarily visual, how could this integral sense be traditionally excluded by a discipline?
- Can documentation of more everyday patterns of human behaviour create strong socially reflective imagery?
- In circumstances that would be overwhelming in a lot of ways, i.e. visually, emotionally, psychologically, how do we know where to start?
My 6th-grade son is doing an independent science project for school. He chose to investigate inexpensive ways to view air currents.
In addition to the experimental work, part of his assignment is to interview up to three people who can provide him with knowledge, and help him brainstorm or improve upon ideas. We have already observed that air disturbances having large heat gradients are easily viewed as shadowgraphs. But we need better sensitivity for small gradients, possibly a Schlieren arrangement. In preparation, I have purchased some inexpensive materials that should prove useful: a small 100mm parabolic mirror with a 150mm focal length, a 12-inch diameter Fresnel magnifying lens with a 1-meter focal length, and a big 1x2 meter sheet of retroreflective fabric. Hopefully we can put them to use. If you are willing to be interviewed for 10-15 minutes about experiment ideas, please let me know. Zoom, Skype, Facetime, whatever is preferable. We're in the US Pacific time zone.
Some models like NIMA evaluate photos aesthetically, but I believe these evaluations are more based on the basics of photography, like photos being focused and so on. I need to analyze more sophisticated photos.
I have an object exposed under collimated light ( the object could be in any shape and its orientation can be arbitrary), how can I get the accurate illuminated or shaded surface of the object?
Gemstone is a kind of sample with special physical appearance. Are there any test methods or instruments recommended for the following situations?
1. Testing gemstone samples with high transparency, small size and strong surface luster
2. We want to study the color change of gemstones under different light sources and illuminations.
3. Some optical effects related to light, such as opal's schiller, Labradorescence, etc.
I have just completed my PhD thesis - Adapting Photovoice to Visualise and Influence Environmental Behaviour across Australia, Bangladesh, and China (Monash University - Design), exploring using photovoice methods across multiple geographic sites to facilitate dialog between and amongst these communities using various participatory techniques, specifically with innovation in audience engagement.
The journey has taken me across 17 discrete participatory-action-research cycles
spanning 4 years, where I partnered with 19 local organisations to run 80 workshops, 8 community exhibitions, and 3 community interview events across 4 separate sites spanning Australia, Bangladesh, and China. Over 700 participants attended workshops and collectively created over 500 photo-stories. I focussed on environmental behaviour, but these methods - like photovoice generally - are applicable to a wide range of themes.
Now I have finally emerged from the tunnel of my PhD, I am looking for future opportunities to use these learnings in other projects and connect with like-minded peers.
Thus I am interested to see who else / what other current and future projects are working on similar methodological adaptations in photovoice or related visual methods?
I have attached the full thesis text here if it is useful to others. I am also happy to receive feedback.
thanks and all the best,
I need to dye bivalves to bring out the details of the shell and to be able to take good photos. I have heard that there is a gaseous compound that allows this and doesn't damage the samples, but I cannot find any literature on this. Could someone help me? Or do you know any other way to do it?
Thank you very much in advance.
I want to hire a drone to take multispectral photographs of my experimental plot. it will include visual range photography, IR and NIR photography.
My PhD includes a remote sensing survey of the Atacama Desert using freely available satellite imagery to detect archaeological sites. So far, I have not found any source of historical aerial photography for my area of study.
By the effect of light, ferricyanide reduces to ferrocyanide which reacts with ferric ions from ferric ammonium citrate to produce a beautiful, deep blue color known as Prussian blue. However, cupric ferrocyanide has a nice wine red color and I would like to know if by changing ferric ions by cupric nitrate or sulfate solution, the photoreaction still occurs and produces red images instead of blue ones.
I want to acquire an A3 scanner for historical aerial photography. I will use these images for digital photogrammetrical reconstruction and the quality and consistency (lack of deformations caused by the scanning process) is essential. After doing some preliminary reading it is still not clear to me what scanning method is better for this purpose CCD or CIS as I have found very different opinions on this subject.
I would be thankful if I could get opinions about this and, if possible, recommendations of good A3 scanners for this task.
I am working to have a vision of the future of aerial photogrammetry. I prefer to obtain reliable documentation.
I would be so appreciative if you introduced me to it.
Thank you very much for your time. Best regards
In a camera (photography), the depth of field/view describes a volume within which objects are acceptably in-focus. Can this behaviour be reversed for a projector to allow the same focal setting to project sharp images on screens at slightly different depths? If so, how (i.e. add more optics to expand the DoF of the projector)?
I am planning to add a polarization filter to my bathymetric SfM setup (DJI m600, Sony a6000, 20mm) in order to reduce sun glint.
Do I have to keep a constant angle of the UAV towards the sun?
Will I have to adjust the rotation angle of the filter for every flight? Do you see/know any other issues?
This question comes from my previous question on fire. I have always felt that I have never come across a single photograph or video on fire that truly reproduces fire. Is that a problem with my visual perception or is it some aspect of fire that baffles cameras?
Yes, the 21st century can be called the age of photography, graphics, image, etc. because this form of transmission begins to dominate the Internet. In addition, photography can be cultivated and developed professionally or as a hobby, as art, i.e. artistically.
In my opinion, photography can be an art if it is practiced with passion etc. Sometimes a photo that qualifies for the artistic picture of the year is created by chance, like a unique impression captured in light photography.
Impression captured in a complete photograph, accidentally and unchangeable.
Another time, such an exceptional artistic picture arises after many weeks or months of preparation, after many rehearsals, in a unique place, which is not easy to reach and is a big undertaking.
It seems to me that it is similar to many other fields of art.
In view of the above, the current question is: Do you think photography can be art?
Please, answer, comments. I invite you to the discussion.
Hi there, first of all thank you for trying to help.
I am pretty stuck with my preliminary research phrase. I would like to know more about behind-the-scene photography for film specifically set photographs. Or the relationship with moving images and stills.
Have a nice day.
We are looking for a backdrop material that will strongly absorb light at 940nm. It's required for Near IR photography of objects in a lab environment. The ideal material should be easy to obtain and relatively cheap. The best we have found so far is the semi-conductive foam that ICs get shipped in, but it's far from perfect.
Also a suitable paint recommendation could work.
I need to analyse images to find patterns and themes. Similarly to what thematic analysis do with text
"I am inviting you to submit interesting structural geological snaps and captions in the "Atlas of Structural Geology" (2nd Edition, Elsevier) that will be edited by me. Elsevier has approved this re-edition.
Open to take- natural secondary and primary, and also human-induced structures developed in all scales, acquired by any techniques.
To know the detail or to discuss, please drop me a mail at
1. Expression of interest: 30-Sept-2018
2. Submission of contributions: 30-January-2019
Dr. Soumyajit Mukherjee
Indian Institute of Technology Bombay, INDIA"
I have approximately 80 wings from individual plains sharp-tailed grouse that were collected from hunter harvest donations over the past few years. As part of my MSc project I want to age each wing as best possible, and then use some of the feathers for stable isotope analysis.
In doing so I thought it would be useful to take a photo of each wing for the record, and if I can do it properly, contribute the photos to an official archive for other researchers to use in the future.
What is the best kind of setup for taking high quality and useful photographs of avian wings? Besides the obvious (good camera, good lighting, consistent framing), are there any tips for producing high quality avian wing photos?
I've found out that most technical targets for image quality assessment have their own software (which cost and features vary a lot), but I can't figure out any that I can use for the Universal Test Target.
Since I need to include it within my workflow, accordingly to the Metamorfoze guidelines fot digitizing artworks, I'm pretty sure there must be a solution.
I am looking for the first instance of the Index used in photography theory (not his examples regarding photography); when/who was the first to use this idea.
does anyone has experience with taking bird UV photos in field? Do you know about scientific articles that would use UV photography in field? I only found studies conducted on museum specimens. I wonder whether field UV photography was already used in field condiditions and what equipment would be needed? Thank you!
UV Photography can reveal another world. For Photographu in UV light i need some equipment such as filters and etc...
Has anyone ever conduct any experiments with EOS camera in this fields?
I mean anything about lighting, perspective or ....
The analysis is going to employ on some fine aggregates (smaller than 0.075 micrometers), and the change in the color is the matter of great importance.
before I start trying to dissect out the lateral meristems of my plants to use in tissue culture, i'd like to know what it looks like. All I see online are cross sectional micro-graphs of the apical meristems. does anyone have photos or know where I can find some? thanks steve
Color may be added to concrete by adding pigments-before or after concrete is place-and using white cement rather than conventional gray cement, by using chemical stains, or by exposing colorful aggregates at the surface. Textured finishes can vary from a smooth polish to the roughness of gravel. Geometric patterns can be scored, stamped, rolled, or inlaid into the concrete to resemble stone, brick or tile paving. Other interesting patterns are obtained by using divider strips (commonly redwood) to form panels of various sizes and shapes rectangular, square, circular or diamond. Special techniques are available to make concrete slip-resistant and sparkling.
I am currently replicating a large collection of Japanese trilobites from dental silicone moulds, using dental plaster. I was using a pot of old fashioned photographic opaque to paint them, but it has now ran out, and I am looking for a modern alternative.
I am taking ultraviolet photos of flowers, after having had a Full Spectrum Conversion to the camera. The Conversion was professionally done; the company removed a filter that blocked both UV and IR. To take UV photos of flowers I am adding to the front of a camera a UV pass filter, excluding both visible and IR. I am not sure if it matters how I set the White Balance in the camera. I can use trials to see how the appearance of the photos varies with different White Balance settings, but if anyone has experience with this, please don't hesitate to make a suggestion as to how to set the White Balance in a digital SLR for UV photos. Thank you
By looking at videos in the internet, one gets the impression that dslr gimbals are mostly designed to keep the camera stabilized for horitzontal operation but has anyone used them to stabilize the camera vertically (i.e. with the lens pointing up)?
We would be interested in taking handheld hemispherical photos within tree canopies and the only gimbals we have so far identified for vertical operation are sold together with expensive and specialized software.
Any hints would be much appreciated!
Photography and post-processing is being advocated by Trey Ratcliff (http://www.StuckInCustoms.com) as beneficial to self-development, meaning and states of consciousness. I am curious whether there is any research evidence relevant to this idea. I do not mean giving people cameras to record their 'photovoice' (e.g. "A snapshot of the lives of women with polycystic ovary syndrome: A photovoice investigation" by Sophie Williams et al., J Health Psychol, June 2016; vol. 21, 6: pp. 1170-1182). I am referring to the photographer engaging in an existential search for meaning where photograph-taking engages with feelings of truth, beauty and oneness with nature.
Hello All! I need some professional advice on getting publishable photos of genitalia BEFORE they are slide mounted. Does anyone have any good home camera set-ups that aren't going to break my bank? My local museum has one, but it's out of commission at the moment... just wondering if anyone has gotten any good photos. It would be for Pyraloid Moths. Thanks!
Considering that I am using a lenses for scientific imaging with spectrographs, I am looking for a good resource to understand all the terminology referred to on the lens.
In addition, any information to understand lenses and imaging (scientific photography specifically) would be much appreciated.
The understood projetação as process between the creation and execution of the projetual method, can be valid other metodológicos resources, instruments and apparatus? It is considered that the photographic tool constitutes valid and relevant resource for the product project, since his technical and functional innovations (digital technologies) can contribute for the professional activity of the designer, of the conception the viabilização of the idea, beside those usual inherent ones in the process of project.
Intention is to use a camera shooting every 30 sec and is operational for 12-14 hours
The target is illuminated by a metal-halide lamp that emits UV-VIS light. I have a Rosco Filter transmitting a yellow and UV visual target. When I apply a single 0.15 ND filter the overall intensity of the visual target drops considerably, causing less light to pass through the filter. When 2 (0.15) ND filters were applied even more light was blocked. In both instances, the yellow and UV portions are magnified in comparison to the other light allowed to pass through. Does that mean that the Yellow and UV light is more saturated?
The photographic language offers additional, differential and inductive resources for the creation in the project process, beside the technical sketches, drawing, prototypes and others?
The area projetual prioritizes the functional, esthetic, emotional, symbolic and technological aspects between others, which has been taking the designers to investigate and to implement new techniques for the handling, constitution and interpretation of the images in the project stages.
A CCD camera chip of dimensions 7*7 mm,and having 1024*1024 elements, is focused on a square, flat area, located 0.5 m away. The camera is equipped with a 35-mm lens
Hi, I have been trying to understand the technical report of obstruction-free photography, find difficulty in understanding the decomposition step. Could anybody plz help me on the same?
Can any one please give recommendations for ideal DSLR/ SLR camera (in India) for intraoral and extra oral photography with specifications ?
I'm doing research about the contemporary visual representation of illness and anticipatory grief, specially in SNSs and I'm trying to contextuallice those practices also.
To create a landscape aesthetic quality heat map I'm trying to get a list of all Panoramio photos in an about 2000 Km2 wide study area. My idea is to perform a (kernel?) density analysis in GIS on a point shapefile including all the photo locations. I've used the well-known Panoramio syntax to get the coordinates:
But I've encountered two kinds of problems:
1) Every single output seems limited to 498 records (not only 100 as declared by Panoramio..)
2) The number of photos seems reduced automatically by Panoramio depending on the bounding rectangle extents, so not all the photos within the area are returned, even setting consecutive from-to ranges.
A possible solution could be to loop the above indicated query according to a moving window approach (let's say 0.01x0.01 deg wide) and to merge the results.
Unfortunately I don't have experience on programming..
Any suggestion about how to do this?
Thanks a lot!
Does any one have suggestions of readying related to early photography on the Alps and the Himalayas?
We have built a kind of light source that can produce both continuous and pulsed (500 ns) light. When we tested with the continuous mode (dark room and target was a glass of water and dirt) the target was beginning to shine but in pulsed mode the only thing that we could capture was just a thin arc around that glass (the mixture of water and dirt was completely dark and unseen). But why? In my theory there is not any difference between pulsed and continuous light just in making blurred image or sharp image of a moving object!
It has been suggested to me that researchers can use photo-elicitation to analyse their own photography, however literature seems to suggest that it is normally used when interacting with research participants; the person taking the photographs and the person discussing the images are not one and the same.
I prepare questionare surveys about public perception of forest within project http://rafa.frrms.mendelu.cz/en?lang=en. I have ideas about objectives of questionare, but Im looking for rules (methodology) of taking pictures of forest stands structure. What is necessary to take care? Or is it enough to have similar values of exposition, focal distance etc.? I suppose there is necessary to accept diferrence light conditions within forest stands.
Gao et al. reported recently in Nature on ultra high-speed photography.
What are some uses for near speed of light photography?
What data are currently available on the use of this type of approach to study transient electrostatics in molecular bonding or rapid changes in biological macromolecules?
Any pertinent references to the chemical literature is sincerely appreciated.
I am fairly new to this type of data analysis, as my study is looking to identify the 'character of place' of two Montana communities. I've done demos with MAXQDA, Nvivo, and Atlas.ti, but am not quite sure which pieces of functionality I should focus on to differentiate the available options. Any insights into a platform that can best handle video and image analysis as well as transcribed qualitative interviews is more than appreciated.
Ease of use/learning curve and ability to produce analysis in a visual friendly way are considerations I would like to emphasize as well.
I have a polished rock and want to take pictures of the rock. I need to edit the picture resolution and apply some correction and enhancement filters. I'm wondering if someone can tell me what I have to do to get a proper photo i.e. what filters should I apply to my polished rock.
Thanks in advance for your replies and I appreciate your views.
I have some hemispherical photograph from forest canopy. the study site has slope and is tilted. I used Gap Light Analyzer 2 for analyses the photographs but in the Calculation Report, the %mask area is too low (~ 0), while i can see topographic mask in the photos. so why? and what is wrong with me?
I only have seeds.
Seed length – 0.26 cm
Seed width – 0.33 cm
At the place of collection, herbaceous vegetation was completely dry. In the middle of herbaceous vegetation, I identified some plants of the family Fabaceae. Most of the pods were already open and without seeds. I collected some seeds for species identification, in July, in Guarda, Portugal.
This photography was taken with magnifying glass (200 x).
Maybe someone knows this seed and can help me.
I would like to quantify a probable slight coloration/pattern change in frogs that were living under different conditions using digital photography. I've read the paper of Stevens et al (2007) about animal coloration studies using photographs and I've been thinking on building a Box that would allow me to take standardized pictures in terms of light. Here the description of my idea and my questions about:
- The Box would be close and have two bulbs at each side, and a fabric in front of them to prevent reflection – like in a Light box – with no other source of light inside of the Box. First, I don't know if the material of the fabric is relevant, and second, before I was I was thinking on using “day ligh lamps” as the frogs are diurnal, but it would get really hot inside of the box and it would be really difficult to transport. So, any other suggestion would be welcome.
- Of course, I would place a Colorchecker next to the animals during the photography sessions.
- I would like to use a glass or a transparent plastic on top of the animal to get “a more 2D photo”, but I don't know if it would be good, because of the reflection and I think some light waves cannot traverse these materials.
- The camera would be place always on the same position (i.e., there would be an “eye” into the box). I don't know much about cameras but if you have any specific non-so-expesive camera model suggestion, it would also be welcome.
Thanks in advance for your suggestions and advices!
We are interested in locating scientific papers related to mortuary photographs or postmortems, approached from the perspective of the history of childhood.
An example of this type of work can be found in:
BORRAS LLOP, J. Mª. Fotografía/monumento. Historia de la infancia y retratos post-mortem, Hispania, Vol 70, 234 (2010):101-136.