For 150 years, chemical photography had a privileged status as a truthful means of representation. The emerging technology of digital imaging is challenging this unique position. This paper proposes to examine the status of the photographic image in the digital age, as well as the debate surrounding the new technology and its implications. Chapter one begins with a brief technical history of the medium and establishes the construction behind the myth of photographic truth. Chapter two debunks the myth of photographic image's objectivity. Chapter three describes the specifities of digital imaging technology and discusses the potential problems and consequences of the invasion of digitally enhanced images in the media, as well as possible solutions. Finally, the fourth chapter considers the use of digital imaging in women's magazines and examines what such a use says about our society's values. By considering the issue of photo-manipulation, one can understand that manipulation expresses the human will to create a world of simulation.

Thesis (Ph. D.)--University of Texas at Austin, 1994.

Orientador: Ernesto Giovanni Boccara / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T06:14:51Z (GMT). No. of bitstreams: 1 Polignano_Sergio_M.pdf: 19138121 bytes, checksum: a2a1fa7467459819c2d2f07679e2acbd (MD5) Previous issue date: 2006 / Resumo: Este trabalho propõe uma abordagem conceitual, dos diversos conteúdos da imagem fotográfica, a sua leitura e decodificação, que vai da sensibilidade aos significados. Apresenta uma proposta de análise que busca justificar e demonstrar a condição da poética (Arte) da fotografia. Nesse sentido, mostra o que de incomum pode deter o olhar que eterniza e o olhar que ressuscita, dando um real valor às imagens fotográficas, sejam elas quais forem e mostrem o que de mais importante possam mostrar, mantendo as informações ao longo do tempo. Desse modo, busca contribuir para uma melhor compreensão da época em que as fotografias foram feitas, dos cenários que as mesmas registram, de seus contextos, assim como das implicações e relações que tenham com as formas de expressão diferenciadas, que chamamos: Arte / Abstract: This work proposes an conceptual approach to the various contents of photographic image, its interpretation, and decoding, which goes from sensibility to signification; it brings a proposal for an analysis that can effectively justify and demonstrate the condition of poetry (art) of photography, showing which of its uncommon aspects can capture the point of view that makes it eternal and the point of view that resuscitates it, bringing the real value to photographic images, being them whatever they are, showing whatever most important subject they can hold, maintaining their image content throughout time, and serving for a better understanding of the time in which photographs were taken, their scenarios, contexts, implications, and relationships that they have with the different forms of expression that we cal!: Art / Mestrado / Mestre em Artes

The twofold purpose of this study was to ground a model of Lens Meaning in the literature of the Fine Arts and Social Sciences and to use that term as a referent in evaluating three Media Studies curricula. Lens Meaning is a term derived from a variety of sources, particularly Peirce (1955), whose semiotic theory described three systems of signs used as terms on one axis of a matrix or model by which Lens Meaning can be described. These terms are: "index", "icon", and "symbol". DeLauretis' (1984) expanded understanding of another system of signs described by Peirce, interpretants, is the foundation for the three terms on the other axis of the matrix. Those terms, which describe interpretation or response, are: "emotional", "energetic", and "habit changing". These, and other terms identified in the literature, provided a conceptual model that might be applied to the analysis and evaluation of programs of Media Studies, and similar documents. Three Media Studies programs were selected for study: from Western Australia, Ontario, and Scotland. Application of the model permitted conclusions to be drawn on the extent to which current issues of an ideological and sociopolitical nature were addressed by these programs. It was concluded that the model achieved the purposes required of it and that it may be of further utility for educators. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

No description available.

This research examined two issues. First, it tested whether accurate map position-finding could be performed in a photographically simulated environment. Test subjects were asked to locate map position sites represented by color 35mm slides encompassing a 360-degree panoramic view for the corresponding ground location. Second, it tested if the perspective imparted by the lens type used to photograph the panoramic views had a significant effect on the accuracy of location selection by the subjects. The two lenses tested were a 50mm (normal perspective) lens and a 28mm (moderately wide-angle) lens which distorted distance, but provided a wider field-of-view. Results indicated that: 1) subjects were able to locate a specific map position by viewing color slides; 2) map position-finding accuracy performance was more dependent on the site itself than on the 35mm slide presentation; and, 3) there appeared to be no significant difference in map position-finding accuracy performance between using views photographed with a 50mm lens and a 28mm lens. / M.S.

Contemporary digital imaging practice has largely adopted the visual characteristics of its closest mediatic relative, the analogue photograph, In this regard, new media theorist Lev Manovich observes that "Computer software does not produce such images by default. The paradox of digital visual culture is that although all imaging is becoming computer-based, the dominance of photographic and cinematic imagery is becoming even stronger. But rather than being a direct, "natural" result of photo and film technology, these images are constructed on computers" (Manovich 2001: 179), Manovich articulates the disjuncture between the technical processes involved in the digital image creation process and the visual characteristics of the final digital image with its replication of the visual qualities of the analogue photograph. This research addresses this notion further by exploring the following. What are the defining technical features of these computer-based imaging processes? Could these technical features be used as a basis in developing an alternative aesthetic for the digital image? Why is there a reticence to visually acknowledge these technical features in contemporary digital imaging practice? Are there historic mediated precedents where the inherent technical features of the medium are visually acknowledged in the production of imagery? If these defining technical features of the digital imaging process were visually acknowledged in this image creation process, what would be the outcome? The studio practice component of the research served as a foundation for the author's artistic and aesthetic development where the intent was to investigate and highlight four technical qualities of the digital image identified through the case studies of three digital artists, and other secondary sources, These technical qualities include: the composite RGB colour system of the digital image as it appears on screen; the pixellated microstructure of the digital image; the luminosity of the digital image as it appears on a computer monitor, and the underlying numeric and (ASCII based) alphanumeric codes of the image file which enables that most defining feature of the image file, that of programmability, Based on research in the visualization of these numeric and alphanumeric codes, digital images of bacteria produced through the use of the scanning electron microscope, were chosen as image content for an experimental body of work to draw the conceptual link between these numeric and alphanumeric codes of the image file and the coded genetic sequence of an individual bacterial entity.

Indiana University-Purdue University Indianapolis (IUPUI) / In crime scene investigations it is necessary to capture images of impression evidence such as tire track or shoe impressions. Currently, such evidence is captured by taking two-dimensional (2D) color photographs or making a physical cast of the impression in order to capture the three-dimensional (3D) structure of the information. This project aims to build a digitizing device that scans the impression evidence and generates (i) a high resolution three-dimensional (3D) surface image, and (ii) a co-registered two-dimensional (2D) color image. The method is based on active structured lighting methods in order to extract 3D shape information of a surface. A prototype device was built that uses an assembly of two line laser lights and a high-definition video camera that is moved at a precisely controlled and constant speed along a mechanical actuator rail in order to scan the evidence. A prototype software was also developed which implements the image processing, calibration, and surface depth calculations. The methods developed in this project for extracting the digitized 3D surface shape and 2D color images include (i) a self-contained calibration method that eliminates the need for pre-calibration of the device; (ii) the use of two colored line laser lights projected from two different angles to eliminate problems due to occlusions; and (iii) the extraction of high resolution color image of the impression evidence with minimal distortion.The system results in sub-millimeter accuracy in the depth image and a high resolution color image that is registered with the depth image. The system is particularly suitable for high quality images of long tire track impressions without the need for stitching multiple images.