My purpose in entering the UCF MFA program was to further explore and develop my passion for photography. During my time in the program, I developed my methodology--from having the traditional photography paradigm ingrained in my mind (and wanting to fit into it) to accepting and valuing my own unique process. I construct installations using diverse imagery and non-traditional presentation. In my installations, one may witness a reflection of the contemporary pace of image perception--fragmented, complex, abundant, and disordered. Together, images and their arrangements are used to create a unified piece that satisfies a new system within apparent disorder. The resulting installations summon the sensation of thinking and processing information in a new way, allowing for re-contextualization of fragmented imagery. Technology has pushed photography to evolve. Previously held traditional notions of photography as art (e.g., "single telling moment" photographs and similar subject matter) are now being confronted by a vernacular of "many telling moments". The current state of the art world is in flux, and is greatly influenced by the faster pace set by technology; I coin our new vernacular Image Culture.

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Thesis (PhD (Electronic Engineering))--University of Stellenbosch, 2010. / Contains bibliography and index. / ENGLISH ABSTRACT: Super-resolution imaging is the process whereby several low-resolution photographs of an object are combined to form a single high-resolution estimation. We investigate each component of this process: image acquisition, registration and reconstruction. A new feature detector, based on the discrete pulse transform, is developed. We show how to implement and store the transform efficiently, and how to match the features using a statistical comparison that improves upon correlation under mild geometric transformation. To simplify reconstruction, the imaging model is linearised, whereafter a polygon-based interpolation operator is introduced to model the underlying camera sensor. Finally, a large, sparse, over-determined system of linear equations is solved, using regularisation. The software developed to perform these computations is made available under an open source license, and may be used to verify the results. / AFRIKAANSE OPSOMMING: In super-resolusie beeldvorming word verskeie lae-resolusie foto's van 'n onderwerp gekombineer in 'n enkele, hoë-resolusie afskatting. Ons ondersoek elke stap van hierdie proses: beeldvorming, -belyning en hoë-resolusie samestelling. 'n Nuwe metode wat staatmaak op die diskrete pulstransform word ontwikkel om belangrike beeldkenmerke te vind. Ons wys hoe om die transform e ektief te bereken en hoe om resultate kompak te stoor. Die kenmerke word vergelyk deur middel van 'n statistiese model wat bestand is teen klein lineêre beeldvervormings. Met die oog op 'n vereenvoudigde samestellingsberekening word die beeldvormingsmodel gelineariseer. In die nuwe model word die kamerasensor gemodelleer met behulp van veelhoek-interpolasie. Uiteindelik word 'n groot, yl, oorbepaalde stelsel lineêre vergelykings opgelos met behulp van regularisering. Die sagteware wat vir hierdie berekeninge ontwikkel is, is beskikbaar onderhewig aan 'n oopbron-lisensie en kan gebruik word om die gegewe resultate te veri eer.

Bibliographical Reference Hunek, F. (2019). The problems of visual content on social networks: An analysis of user filters implemented on Instagram. Prague, 2019. p. 123. Dissertation thesis (Ph.D.) Charles University in Prague, Faculty of Social Sciences, Institute of Communication Studies and Journalism. Lecturer: Doc. Mgr. et MgA. Filip Lab, Ph.D. Abstract In this dissertation, I am mainly focusing on photographic social network Instagram. It is the photograph that plays a crucial role in shaping the awareness of one's own identity and belonging to a community. Through photographs, on the one hand, we perceive the world and store our individual (Van Dijck, 2005) as well as our collective memory (Pink, 2011). On the other hand, photographs serve as a means of self-expression (Tinkler, 2008). Moreover, today's time is greatly fragmented, discontinuous, and episodic, which, on the other hand, leads human individuals to constantly legitimize themselves as unique and authentic individuals (Bauman, 2002). Furthermore, this constant communication via photographs requires a continual adaptation to the media messages, which puts an increased emphasis on visual communication as a field of social sciences, tightly connected to media studies. In short, the main goal of this dissertation is to introduce an analysis...

A relação das pessoas com a fotografia vem sendo alterada pela conjunção de dois fatores: a evolução das câmeras digitais e o compartilhamento de fotografias na Internet. A popularização tanto das câmeras como da Internet criou condições para que as pessoas pudessem massivamente publicar imagens na rede mundial de computadores, tornando-se componente de uma modificação na cultura, definida por Henry Jenkins como cultura da convergência, em que as pessoas assumem um papel mais participativo na produção e consumo de bens simbólicos. O consumo e fruição da fotografia passam por transformações que envolvem o novo suporte: a tela digital regida por uma interface, e este suporte reduz a relação de tempo que as pessoas gastam observando a fotografia. O acesso rápido e fácil promovido pela rede também confere à fotografia a possibilidade de ter maior alcance, maior tráfego, o que pode conferir-lhe maior valor de exposição, no sentido atribuído a este termo por Walter Benjamin. Surgem comunidades de grande porte, como o Flickr, com bilhões de imagens publicadas. Na rede, elas também passam a estar indexadas por sistemas buscadores que permitem às pessoas encontrar fotografias com os temas que têm interesse e permitindo o contato direto com o autor das mesmas, o que possibilita o surgimento de um comércio direto de imagens. Todos esses fatores acabam por influenciar a forma que a fotografia é produzida e o espaço no mercado para a atuação dos fotógrafos profissionais. Para descrever esses fatores, foram realizadas uma pesquisa bibliográfica, uma entrevista aberta e algumas entrevistas semiabertas como abordagem metodológica. / The relation of people with photography has been changed by the conjunction of two factors: the evolution of digital cameras and the sharing of photography via the Internet. The popularization of both digital cameras and the Internet has created conditions so that people can prolifically publish images on the Word Wide Web. It has become a component of a cultural shift, defined by Henry Jerkins as a convergence culture, in which people take a more participative role in the production and consumption of symbolic goods. Consumption and enjoyment of photography has been transformed by a new medium: the digital screen controlled by an interface, and this medium changes the relationship with time that people have while observing photography. The quick and easy access promoted by the net also gives photography the possibility of greater reach and greater traffic, which can give them greater exhibition value, in the sense attributed to this term by Walter Benjamin. Large communities have flourished, such as Flickr, with billions of images published. On the net, they also become indexed by search engines which allow people to find photographs with the the themes that they are interested in and permitting for direct contact with the photographer, allowing for a direct market of images. All of these factors influence the form by which photography is produced and the marketplace for professional photographers. To describe these factors bibliographic research as well as both open and semi-open interviews using a methodological approach were conducted.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2015-07-06T14:15:19Z No. of bitstreams: 1 Cristina Schroeder Lima.pdf: 2888115 bytes, checksum: f5d0d2c0ea07336f5fb667142adbf7d6 (MD5) / Made available in DSpace on 2015-07-06T14:15:19Z (GMT). No. of bitstreams: 1 Cristina Schroeder Lima.pdf: 2888115 bytes, checksum: f5d0d2c0ea07336f5fb667142adbf7d6 (MD5) Previous issue date: 2013-04-03 / Nenhuma / Esta dissertação tem como preocupação mais ampla compreender o impacto da associação de técnicas e tecnologias digitais ao processo produtivo da fotografia publicitária através e a partir das próprias fotografias postas em circulação pela publicidade nos últimos anos. Nesse sentido, as questões motivadoras das reflexões aqui desenvolvidas dizem respeito ao estatuto da fotografia na contemporaneidade e, em particular, da fotografia publicitária. Para enfrentar tal problemática de modo operacional optou-se por analisar as fotografias selecionadas no “Prêmio Fundação Conrado Wessel – Categoria Fotografia Publicitária”, entre os anos de 2003 e 2006, recorte legitimado pelos próprios agentes envolvidos com a prática da fotografia publicitária, já que o referido prêmio consolida-se como um lugar onde concepções, limites e valores inerentes a este campo tão fluído e poroso são firmados e afirmados tanto pela própria instituição como pelos agentes por ela mobilizados. Neste contexto empírico, buscou-se compreender e definir a diferenciação que a publicidade, através de suas práticas sugere para o conceito de fotografia; elaborar o lugar das tecnologias e técnicas de manipulação digital na construção de fotografias para a publicidade considerando as leituras possíveis; formular tensões entre a utilização destas técnicas e tecnologias e a nossa compreensão e leitura das imagens fotográficas no contexto publicitário; buscar inferências de definição de fotografia publicitária a partir das relações entre as dimensões semio-técnicas e os processos de leitura e produção da fotografia publicitária. Na análise das imagens procedeu-se, inicialmente, a uma leitura “interna”, de caráter técnico-iconográfico, e a seguir foram empregados recursos “externos”, em especial entrevistas, com a finalidade de devolver as fotografias ao seu contexto publicitário original. / This dissertation has as its wide preoccupation understand the impact of the association of techniques and digital technologies to the productive processes of advertising photography through and from actual photographs put into circulation by advertising in the last years. In this sense, the questions that motivated the reflections developed here concern the contemporary photographic statute and, in particular, of advertising photography. To face such problematic in a operational mode, we chose to analyze the finalist photographs at Prêmio Conrado Wessel – Advertising Photography Category, between the years of 2003 and 2006, a selection legitimated by the players involved in the practice of advertising photography, since the referred prize consolidates itself as a place where conceptions, limits and values inherent to this field so fluid and porous are consolidated and affirmed by the institution itself and the agents mobilized by it. In this empirical context, it was sought to comprehend and define the differentiation that advertising, through its practices, suggests to the concept of photography; elaborate the place of technologies and digital manipulation techniques in the construction of photographs produced for ads considering possible readings; to formulate tensions between the use of these techniques and technologies and our understanding and reading of photographic images in the advertising context; to seek for inferences about definitions of advertising photography out from the semio-technical relations and the reading and productive processes of advertising photography. In the image analysis it was proceeded initially a “internal” reading, of technical- iconographic character, and thereafter it was employed “external” resources, specially interviews, with the purpose of returning the photographs to its original advertising context.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-05-23T18:42:37Z No. of bitstreams: 1 Emerson Machado Ramos_.pdf: 15129216 bytes, checksum: aff2b4984c64f236b0b3d1e903cf10c3 (MD5) / Made available in DSpace on 2016-05-23T18:42:37Z (GMT). No. of bitstreams: 1 Emerson Machado Ramos_.pdf: 15129216 bytes, checksum: aff2b4984c64f236b0b3d1e903cf10c3 (MD5) Previous issue date: 2016-04-04 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A pesquisa reflete sobre a fotografia digital na contemporaneidade, problematizando a construção do fotográfico na Web, particularmente no Magnum in Motion. Os ensaios fotográficos da Agência Magnum são abordados na perspectiva das audiovisualidades, nas suas relações com a Web, que se mostram principalmente na home do site e nas múltiplas linguagens que convergem nos ensaios, tendo a fotografia como centro de uma construção audiovisual. Entendemos o fotográfico (Dubois, 2011; Soulages, 2010) como o conjunto de relações que insere a fotografia num processo audiovisual. A metodologia aplicada para análise dos empíricos é inspirada no scanning de Flusser (1985), que nos permite “vaguear” pelas imagens técnicas e decifrar alguns dos sentidos codificados e inscritos nestas superfícies, que são conceitos de mundos engendrados tecnicamente pela Magnum. Os ensaios Obamania e Bongo Fever escaneados dão a ver, nesta pesquisa, a natureza do audiovisual fotográfico: o humano visto de muito perto, a precisão na composição fotográfica e a multiplicidade de linguagens, sequências, cortes, ritmo e montagem sonora são constitutivos dos mundos Magnum e colocam o fotógrafo, o aparelho técnico e o espectador em situação de testemunha. / The research reflects on digital photography in contemporary times, discussing the construction of the photographic on the web, particularly in the Magnum in Motion. Magnum Agency’s photography essays are addressed from the audiovisual perspective and its relations with the Web, that are mainly shown on the homepage and in multiple languages that converge in the essays, considering the photography as the center of a visual construction. We understand photographic (Dubois, 2011; Soulages, 2010) as the set of relations that inserts the photography in an audiovisual process. The methodology used for the empirical analysis is inspired by the scanning, according to Flusser (1985). This method allows us to "wander" through technical images and figure out some of the coded and written directions on these surfaces, which are concepts about the worlds technically produced by Magnum. The scanned essays, Obamania and Bongo Fever, call into question, in this survey, the nature of photographic audiovisual: the human closely seen, the accuracy in photographic composition and the multiplicity of languages, sequences, cuts, rhythm and sound montage are elements of the Magnum photographic worlds and put the photographer, the technical apparatus and the viewer as witness of the situation.

Made available in DSpace on 2016-04-26T18:15:20Z (GMT). No. of bitstreams: 1 Julia Ferreira de Almeida.pdf: 2308585 bytes, checksum: a3c590792017ad45aebc0b7769b8d397 (MD5) Previous issue date: 2015-11-16 / The intend of this research is to understand the picture in transformation of characteristics when you migrate from analog to digital device, via social media like Facebook, Twitter and Instagram. For both examples were selected for the study in each of the networks and compared with three strands present in photography analog devices. Using methodological procedures supported in the case description in study and subsequent comparison between them, they studied the family album, the advertising photography and the photographic record and wonders whether these copies may differ when walking from analog to digital. The theoretical foundation considered concepts developed by Flusser, Joan Fontcuberta and Susan Sontag in order to verify the digital support photograph interfered with the cultural role played by photography as a communicative medium / O presente trabalho tem, como objetivo, entender as características da transformação da fotografia, quando migra do dispositivo analógico para o digital, através de mídias sociais como o Facebook, Twitter e Instagram. Para tanto, foram selecionados exemplos para estudo em cada uma das redes e comparadas com três vertentes da fotografia presentes nos dispositivos analógicos. Utilizando procedimentos metodológicos apoiados na descrição dos casos em estudo e a consequente comparação entre eles, foram estudados o álbum de família, a fotografia publicitária e o registro fotográfico, perguntando-se se estes exemplares podem apresentar diferenças quando caminham do analógico para o digital. A fundamentação teórica considerou conceitos desenvolvidos por Vilém Flusser, Joan Fontcuberta e Susan Sontag, a fim de verificar como a fotografia de suporte digital interferiu no papel cultural desenvolvido pela fotografia como meio comunicativo

Background: O câncer de colo uterino é um grande problema de saúde pública no Brasil e no mundo. Atinge cerca de meio milhão de mulheres, sendo que 50 % destas morrem. Os métodos visuais, alternativos á citologia e viáveis para países em desenvolvimento, têm sido avaliados mais intensamente na última década. Objetivos: Avaliar o desempenho da Fotografia Cervical Digital (FCD) na detecção do câncer do colo de útero e de suas lesões precursoras. Métodos: 176 mulheres foram avaliadas pelos métodos de Inspeção Visual com ácido acético (VIA), Inspeção Visual com lugol (VILI), Fotografia Cervical Digital com ácido acético (FCDA) e Fotografia Cervical Digital com lugol (FCDL). Destas, 36 foram classificadas pela histologia. Resultados: A concordância entre avaliadores observou valores de Kappa: Fotografia Cervical Digital com ácido acético, K=0,441, e Fotografia Cervical Digital com lugol, K=0,533. A concordância entre as inspeções a olho nu e as fotografias cervicais digitais após a utilização de ácido acético no colo uterino, K=0,559, e a concordância após a utilização da solução de lugol, K=0,507, considerada como concordância moderada em ambos os casos. Das 36 pacientes com avaliações histológicas, 20 dos 25 casos positivos foram corretamente avaliados tanto pela FCDA, como pela FCDL, demonstrando resultados similares aos descritos anteriormente. Conclusão: A FCD é um método promissor para o rastreamento do câncer de colo de útero e suas lesões precursoras, para países em desenvolvimento. / Background: Uterine cervix cancer is a major public health problem in Brazil and in the world. It affects half a million women with a death rate of 50%. The visual, alternative methods to cytology, considered viable for developing countries, are being assessed more intensively in the last decade. Objective: To evaluate the performance of Cervical Digital Photography (CDP) in detecting cervical cancer and its precursory lesions. Methods: A total of 176 women were evaluated by the following methods: Visual Inspection with Acetic Acid (VIA), Visual Inspection with Lugol’s Iodine (VILI), Cervical Digital Photography with Acetic Acid (CDPA) and Cervical Digital Photography with Lugol’s Iodine (CDPL). Among these, 36 were classified by histology. Results: The correlation between evaluators observed Kappa values: Cervical Digital Photography with acetic acid, K = 0.441, and Cervical Digital Photography with Lugol's Iodine, K = 0.533. The correlation between the naked eye and cervical digital photography inspection after using acetic acid in the uterine cervix, K = 0.559, and the correlation after using Lugol's Iodine solution, K = 0.507, were regarded as moderate in both cases. Of the 36 patients with histological evaluation, 20 of the 25 positive cases were correctly assessed both by the CDPA as well as by CDPL, showing similar results than those described previously. Conclusion: CDP is considered a more promising method for screening the uterine cervix cancer and its precursory lesions in developing countries.

<p>This thesis presents Pixgis; a novel application for map-centric management of photographs. In short Pixgis is an interactive environment in which photographs may be discovered, viewed and managed through maps. With Pixgis finding photographs from a specific location or of a particular structure is as easy as finding the location or structure on a map. As Pixgis simultaneously displays maps, photographs and spatial metadata it also enables users to analyze photographs in new manners. This thesis work illustrates the benefits of applications for map-centric management of photographs, exposes the problems one faces when implementing such applications and presents novel solutions to many of these problems. The thesis also elaborates on spatial metadata and methods for acquisition of photographs with embedded spatial metadata.</p>