The thesis is a study of stereoscopy from a cinematographer's point of view. It views stereoscopy in it's entire spectrum of today's use - from rides in theme parks, over commercial narrative films, to documentaries with a cultural value. It briefly takes a look at the early theories of binoculars, the early stages of stereoscopy discovery and stereophotography. Next it briefly focuses on the history of stereoscopy in cinema from its beginning, to it's renaissance in the 1950's up to today. Thereafter the thesis continues with a description of the principles of depth perception, with keywords like disparity, parallax, convergence and accommodation. It mentions the importance of non-stereoscopic depth cues to the process of stereopsis. The next part concentrates on the stereoscopic window, which is analogical to the frame and it's borders in conventional cinema. It investigates the screen size, the distance limit of the far plane and stereoscopic window violation. It continues in breaking down the stereoscopic image and factors that influence the size perception of objects and figures in it's space, as well as analyzing the perception of the whole image depending on the viewer's position to the screen. Attention is given to a special case of stereoscopy - orthostereoscopy. Depth bracket, native parallax and terms such as stereo comfort zone, depth budget and depth bracket are defined to create an understanding of the importance of the concept of the depth chart. The aesthetics of depth is demonstrated on a few recent stereoscopic films. A general overview of equipment for stereoscopy follows - rigs, 3D monitors and software. The thesis continues in discussing the tools of the cinematographer divided into two groups - non-stereoscopic and stereoscopic. The non-stereoscopic are linear and colour perspective, atmosphere blur, focus and camera movement. While the stereoscopic tools are interaxial distance and convergence. The cases of hypostereoscopy and hyperstereoscopy are understood as tools of the trade as well. The next chapter is dedicated to the specifics and limitations of stereoscopic imaging - the necessity of perfect pairing of cameras, lenses, the specifics of framing for stereoscopy, issues related to the mirror in the rigs, lighting and use of optical camera filters. The next part of the thesis briefly covers related topics that have an impact on the image as well. Namely set design, post-production, with stress on colour grading, and various stereoscopic projection systems, including autostereoscopy. The last part of the thesis is an interview with cinematographer Andrew Lesnie, ACS, ASC who shares his experience on shooting the Hobbit. The conclusion is a reflection on the question, if stereoscopy is a tool and it also tries to estimate the future of stereoscopy in film and television.

Theoretical part of diploma thesis Comparative quantitative content analysis of photos from Timeline regional Facebook pages of ELLE Magazine explores the theory of visual culture, what kind of role pictures or photos play in contemporary digital age. Also Facebook online marketing and Facebook pages are described. The third chapter of thesis looks into history of global trade brand ELLE Magazine and it describes the owners of brand-license in examined regional countries. The last theoretical section explores a globalization of communication including magazine trade and the Internet. The thesis also contains research review of contemporary studies with similar topic. Methodological part firstly describes a content analysis and its aplication on research of photos. Secondly a diploma research with main reseach question: Are regional differences in thematic composition of published photos on facebook pages of ELLE magazines?

This thesis deals with an unconventional possibility of measuring photometric values and the work is based on analysis of luminance made by commercially available digital photo camera. In the first part is represent an overview of current methods for measuring the photometry. You also can see the basic photometric values and required instrumentation needed to measure them. The focus of the work is concentrated on the description of the problems associated with setting the correct luminance of digital photography. It describes the dependency and correction procedures for calculating fixed luminance ratios of the individual images. The last part of this thesis is devoted to the possible use in practice, especially in the analysis of luminance of objects, luminaires and light sources. It also deals with an alternative description of luminaire and light sources to replace the luminous intensity curve etc.

The aim of the paper is to introduce an optic microscope as well as microscopic photography producing. It further engages in sharpening issues and attaining a sharp image with extremely robust depth acuteness assuming using a series of images with different acuteness levels. The goal is to create a suitable algorithm to increase depth acuteness, to perform a visual processing of the series of images and to get one final image with high depth acuteness.

Multimedia installation combining photography, music and noises, representing the story of the killer and the victim, from their meeting up to death in five main parts.

This dissertation entitled Crystals Collector is concerned with the phenomenon of collecting, and more specifically with crystals as objectes in an imaginary collection. The objects are selected based on a personal fascination of the author. However, the collection always has, similarly as a crystal, a predetermined internal structure. The meaning of individual parts only become apparent when they are viewed as a whole. The main artefacts of the collection are paintings on canvas - with the painting becoming a similar 'fetish' as a collected crystal. Mineral it the key artefact and as such it is subjected to deeper examination (experiments with growth of crystals, studies of crystals, artefacts having a close relationship to crystals...).

This thesis deals with the management of digital photos by metadata contained in the photos. The thesis describes the structure of the formats JFIF, TIFF, RAW and EXIF format for storing metadata into photos. In the next part of this thesis is described the design and implementation of a simple photo management application. The main functionality of the application is focused on bulk editing EXIF metadata in the photos. In the conclusion of this thesis there's a proof of results and discussion about further extension options.

Die frühe Tanzfotografie sieht sich mit der Herausforderung konfrontiert, das technische Zeitregime der Lichtbildaufnahme mit dem Bewegungsfluss des Tanzes zu verbinden. Dabei sollen Dokumente entstehen, die sowohl der Ästhetik des Mediums wie auch dem inszenierten Motiv ihren Eigenraum geben. Dieses Dilemma löst Hugo Erfurth mit einer spezifischen „Blickeinstellung“ und generiert dadurch Aufnahmen, in denen die Differenz zwischen sich bewegenden Körpern und deren fotografischer Abbildung in eine pragmatisch wie ästhetisch erfolgreiche Strategie überführt werden konnte.

Historische Fotografien sind Fenster in die Vergangenheit, die bis heute zu den Stiefkindern in Bibliotheks-, Archiv- und Museumsbeständen gehören. Die TU Bergakademie Freiberg lud deshalb im November zu einem Workshop, der die Herausforderungen konservatorischer Erfordernisse aufgezeigt hat. Die Gastgeberschaft kam nicht von ungefähr, verfügt die Universitätsbibliothek doch über eine beachtliche Fotosammlung, deren Mitarbeiter mit den alltäglichen Problemen der Bewahrung vertraut sind.

To discover the possibilities of children s experience with the language of Art from the very pre-school age and the purposeful application of the new educational methods also through the alternative (electro-digital) medium. To present the possibilities of Art activities in kindergarten through different Art media, especially digital photography, and above all to show a scale of those approachable instruments which could be accesible within the natural life in a pre-school collective, including electronic media. To create and implement a new Art project, based on the particular Art activities focused on work with digital photograhy. To implement personal intentions and opinion into the specific programs. To compare the final outputs of the Art activities of teachers and children. To evaluate the acquired findings as well as experience of implementation of Art activities.