Digital Photography

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........ ...

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

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.

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.

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.

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.

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.

ABSTRACT: A necessary part of the documentation of coins is, besides identification and inclusion in a databank, the creation of a photographic record. In order to photograph large numbers of coins from finds and collections, a plug‐in and batchfile have been created, which allow the backgrounds to be removed from coin images, the images to be fixed in a ratio of 1:1 and these to be given a title (translated by Claire Franklin).

ZUSAMMENFASSUNG: Zu einer fundierten Dokumentation von Münzen gehört, neben der Bestimmung und Aufnahme in einer Datenbank, ihre fotografische Erfassung. Um großer Mengen an Münzen aus Funden und Sammlungen zu fotografieren, wurden ein Plug‐in und ein Batchfile erstellt, welche es erlauben Münzbilder vom Hintergrund frei zu stellen, in den Maßstab 1:1 zu setzen und zu beschriften.

RÉSUMÉ: Une partie nécessaire de la documentation des pièces de monnaie est, outre l'identification et l'inclusion dans une banque de données, la création d'un enregistrement photographique. Afin de photographier un grand nombre de pièces de monnaie provenant de découvertes et de collections, un plug-in et un fichier batch ont été créés, qui permettent de supprimer les arrière-plans des images de pièces, de fixer les images dans un rapport de 1:1 et de leur donner un titre  (traduit avec www.DeepL.com).

SOMMARIO: Una parte necessaria della documentazione delle monete è, oltre all'identificazione e all'inserimento in una banca dati, la creazione di una documentazione fotografica. Per fotografare un gran numero di monete provenienti da ritrovamenti e collezioni, sono stati creati un plug-in e un batchfile che consentono di rimuovere gli sfondi dalle immagini delle monete, di fissare le immagini in un rapporto 1:1 e di assegnare loro un titolo  (tradotto con www.DeepL.com).

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.

Resumen:

En primer lugar, el fenómeno selfie consiste simplemente en volver del revés la sintaxis fotográfica con el fin de hacer coincidir en la misma instancia al fotógrafo y al objeto fotografiado. No obstante, más allá de esta operación, el selfie tiene que ver con el régimen escópico de la sociedad de comienzos del siglo XXI. El presente ensayo analiza un archivo de fotografías digitales tomadas y publicadas en Internet durante el año 2014, todas ellas compuestas de acuerdo con esta estructura enunciativa auto-consciente. En último término, se tratará de establecer una tipología cultural semiótica en torno a la estructura del ver y del ser visto a través de la web 2.0.

Abstract:

First of all, the selfie phenomena consists on turning inside the photoghraphic syntax, in order to concentrate into the same instance the photographer and the object of the photography. In addition to this, it has to deal with the visual structure of the society at the begining of the XXIst century. On that way, this essay may analyze some digital pictures which has been taken and published on the Internet during the year 2014 which have been composed according to this self conscient enunciation. At least we may be able to build a semiotic cultural typology about the structure of watching and being watched through the web 2.0.

Palabras clave:

selfie; sí mismo; cultura visual digital; fotografía digital; panopticon; semiótica.

Keywords:

Selfie; Self; Visual Digital Culture; Digital Photography; Panopticon; Semiotics.

Citar: Broullón-Lozano, M. A. (2015). “Por una semiótica del selfie en
la cultura visual digital”. Fotocinema. Revista científica de cine y fotografía,
11, pp. 215-234. Disponible: http://www.revistafotocinema.com/

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.

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.

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) feature.

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 INFORMATION: www.FloridaMyEden.com

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.

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.

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.

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.

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.

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.

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.

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.