This paper examines stereographic images as scholarly resources, and begins with a brief history of the stereograph. A discussion and review of the literature related to the stereograph as well as the preservation of photographic objects follows the introduction. In addition to the literature review, collections of stereographs at four repositories were evaluated for usability: The Keystone-Mast Archive at the University of California, Riverside; The Eliot Elisofon Archive at the Smithsonian Institution; the George Eastman House; the Library of Congress. The paper ends with suggestions for future work with the stereograph, in order to facilitate access and use by researchers.

This thesis is a critical reconsideration of the relationship of architectural production with its unique mode of representation: &ldquo / photography.&rdquo / Photography has been interpreted essentially as a technique and a visual medium to document architecture in general. The &ldquo / photograph,&rdquo / in this sense, is regarded as a representational form of documentation and an artistic and material expression of architecture. Besides this conventional value, this study argues that photography not only provides a new medium for the reinterpretation of architectural space, but also a new material and technique for architectural production. In this respect, this study discusses photography as an emerging tool for architecture in which the photograph is conceived as a raw material. As in the manufacturing of a raw material in an industrial process, the main argument of this study is that as long as a photograph is processed with required components, it contributes to architectural production in a comparable manner. Even it has the potential to produce architectural space in its own right. To understand the nature of this architectural space supported by a variety of physical and non-physical characteristics of photography, this study compares two different ways of architectural production with the aid of photographs. Starting with the assumption that there is a radical change in the conception of photography in architecture from an immaterial quality to material essence, this study argues that the photograph is a raw material that can be used to authenticate architectural space from the initial idea to the built object. Therefore, drawing attention to the changed value of photography for architecture over time, the aim of this study is to establish a critical framework to understand and discuss this contemporary function of photography in architecture.

An experiment showed that audiences react with more empathy to graphic war photographs accompanying news reports than non-graphic war photographs. Four war stories from four different countries, featuring either a graphic or non-graphic photograph representing a scene from each report, were used to test respondents’ reactions. Empathy measured higher after audience exposure to graphic war photographs, while recall, central processing, emotion, media attitudes, and civic participation all did not show significant differences from graphic to non-graphic. As a result of this study, editors and news organizations can be assured that audiences may not react with a significant amount of emotion, but will still care significantly more about an issue after being presented with graphic news photographs of war with war reports, as opposed to non-graphic photographs of war. / text

The compilation of albums began almost upon the invention of photography and has continued to this day, migrating now into the realms of electronic and digital imagery. The private album, which includes, but is not limited to, the family album, is a hybrid of flexibility and conservatism--situational, syncretic and personal in its contents and organization. Interpretation of an album is correspondingly challenging, especially when the album has been separated from its compiler and placed in a public collection. / The McCord Museum of Canadian History has a substantial collection of private albums ranging in date from the 1860s to the 1960s. The collection has been assembled mainly from private donations as a reflection of Canadian social history. Aside from its breadth, the collection offers the researcher a degree of assurance that the albums represent the work of amateur compilers. Bringing this collection to light and raising the museum's consciousness of the value of these objects as albums have been important aspects of this study. / The primary focus, however, has been the discovery of an interpretational framework, a way of reconstituting the intentions and methods of the compiler. Albums have been interpreted as visual equivalents of analogous forms, such as journals or Family Bibles, but these categories fail to contain the full nature of compilatory expression which is often multiplistic, redundant, serpentine and obscure. The private album transferred to the public institution needs to be considered in the full context of its creation and presentation--the merging of visual and oral traditions. / A multidisciplinary review of the literature outlines the paradigms and metaphors that inflect our understanding of photographic albums as tools of communication and sources for artists. The function of the album as an aide-memoire for individual life history has long been recognized, but the detailed application of orality's condition and structure to the photographic album is here an original contribution to knowledge. The reconciliation of photography and orality expands our understanding of both and restores the heuristic conversation that brought the photographic album into being.

Fibrinogen aggregation is the last step in blood coagulation. Inhibition of fibrinogen aggregation could lead to anticoagulation effects. However, there is no good method for the ready evaluation of fibrinogen coagulation. A commonly used path method is slow and requires an expensive instrument. In this project, we have developed a microplate reader and In evaluating inhibitors of fibrinogen coagulations there is no good method. As an important process in hemostasis, fibrinogen coagulation is often detected by micro-plate reader. In our test of fibrinogen coagulation, we improved the observing and analyzing method by using photograph to see concentration-depended effect of thrombin inhibitors on the coagulation. Three known thrombin inhibitors, AEBSF, APMSF and PMSF, were applied to develop the method for detecting the fibrinogen coagulation. The results showed our method is of accuracy in determination of the amount of fibrin when compared with other types of methods.

This research assesses the accuracy of SRTM and AIRSAR DEMs acquired over the mountainous-hillands of Cameron Highlands with DEMs generated from Digital Aerial Photograph (DAP) with a fine (2 m) spatial resolution and height resolution of about 0.5 m. The ground control points used for generating stereo models from the DAP were acquired during field work using GPS which achieved accuracy better than 2 cm in most cases. To overcome the difficulty of overlaying the DEMs with the DAP DEM as no features can be easily identified on both the images, therefore a technique of using transects and contours generated from the DEMs were used to correct the horizontal displacement. For AIRSAR DEM, comparing the accompanying AIRSAR composite images was also employed. These then allowed an analysis of the height accuracy to be undertaken. The height of both the AIRSAR and SRTM DEMs were also corrected by applying Linear Regression Models. These models were produced by comparing pixels obtained from points, profiles and an area. Once again the corrected DEMs were assessed. Finally the extracted profiles and contours from the corrected SRTM and AIRSAR were compared with the reference DEM. From the comparisons, the horizontal errors were found to be about one and the half pixels (138.72 m: for SRTM) to the east and 1 pixel (10 m: for AIRSAR) to the south. The SD of height differences of the SRTM and AIRSAR DEMs using 90% data were 9.2 m and 5.2 m with profiles comparison; 10.4 m and 5.4 m with area comparison; 10.8 m and 2.4 m with GPS GCPs comparison respectively. From the three comparisons, the means of height differences are 5.2 m, 6.1 m and 15.2 m for SRTM and 8.1 m, 8.3 m and 7.9 m for AIRSAR DEM. The results suggest there is height offset in the AIRSAR DEM. When both heights of DEMs were corrected, the generated contours are close to each other and to reference contours. Using contour colours images and height modelling, the corrected DEM was found to have the potential to detect areas that prone to flash floods and mudslides.

A paisagem possibilita um olhar para a cidade que integra diversos aspectos da relação sociedadenatureza, e, ao expressar diferentes momentos da ação de uma cultura sobre o espaço, é também uma acumulação de tempos. O presente trabalho pretende compreender as dinâmicas de transformação da paisagem contemporânea, buscando desvelar suas múltiplas camadas temporais a partir de uma perspectiva histórica. Para acessar os vestígios do passado e realizar um percurso no tempo, adota-se a imagem fotográfica como fonte para a investigação. Nesse encontro da paisagem e da fotografia, enquanto fenômenos visíveis que se oferecem a leituras espaço-temporais, sob a inspiração benjaminiana do princípio da montagem, articulam-se os fundamentos teórico-metodológicos que se desdobram na construção e na aplicação de um método para a interpretação da paisagem segundo suas características constituintes da forma, função e estrutura. Como estudo de caso, utiliza-se fotografias de “Porto Alegre vista do Guaíba” em diferentes períodos, considerados emblemáticos em relação às transformações urbanas. Ao acessar as fotografias enquanto vestígios deixados como uma experiência sensível do mundo, a paisagem se revela, permitindo a apreensão de seus significados. / Landscape provides a look at the city integrating various aspects of the society-nature relationship. As it expresses different connections of cultural action over space, it is also an overlapping of time. This study aims to understand the transformation dynamics of the contemporary landscape, seeking to uncover its many layers of time from a historical perspective. In order to access the vestiges of the past and make a journey in time, the photographic image is the source for research. When landscape and photography meet and visible space-time readings phenomena take place inspired by Benjamin’s principle of montage, theoretical and methodological articulation unfolds in the construction and application of a method for interpretation of the landscape according to its form, function and structure. As a case study, photographs of “Porto Alegre view from Guaíba” at various times are considered emblematic in relation to urban transformation. By accessing the photographs as traces left and as a sensory experience of the world, the landscape reveals itself, allowing seizure of meanings.

Esta pesquisa inscreve-se no cenário da formação continuada de docentes da educação infantil. Trata-se da proposição de um grupo de formação estética com educadoras de uma escola infantil de Porto Alegre (RS), cujo objetivo foi o de criar um espaço de experimentação a partir de práticas de fotografar e de olhar fotografias que favorecessem o exercício de ver e de pensar acerca de si mesmo, dos outros e da escola. As interlocuções teóricas privilegiam os estudos de Michel Foucault, relativos ao cuidado de si da filosofia antiga, e de Roland Barthes, em sua análise acerca da fotografia. As propostas dos encontros de formação se organizaram a partir de exercícios de fotografar e de olhar essas fotografias, como também da recepção de imagens fotográficas de fotógrafos profissionais e de artistas visuais contemporâneos, tais como Henri Cartier- Bresson, Juarez Silva, Joan Fontcuberta e Vik Muniz, em um espaço de conversa e de intensificação das relações sociais. O corpo empírico do trabalho compõe-se das fotografias produzidas pelas educadoras, como também das falas e das escritas que se deram em 10 encontros realizados entre 2010 e 2011. A análise dos materiais se dá a partir de relações tecidas em três eixos vinculados às capacidades das imagens fotográficas, a saber: registro do visível e para o visível, possibilidade de estranhamento e ato de criação. Neste trabalho, situa-se a prática de fotografar e de olhar fotografias na proximidade do cuidado de si e o grupo de formação estética como espaço de experimentação que pretende favorecer estranhamentos e mobilizar a criação de outros modos de pensar e de atuar na educação infantil. / This research is inscribed in the scenery of the ongoing formation of teachers from the childlike education. The proposition consists of an aesthetic formation group constituted by educators of a childlike school of Porto Alegre (Rio Grande do Sul), the objective of which was that of creating a space of experimentation from practices of photographing and of looking at photographies in order to favor the exercise of viewing and of thinking of oneself, of others and the school. The theoretical discussions privilege the studies of Michel Foucault relative to the care of the self as defined in the ancient philosophy, and of Roland Barthes, in his analysis about the photography. The meetings of the formation group got organized in exercises that consisted of photographing and of visualizing the photographies, as well as of the reception of photographic images of professional photographers and of contemporary visual artists such as Henri Cartier-Bresson, Juarez Silva, Joan Fontcuberta and Vik Muniz, in a space of conversation and of intensification of the social relations. The empirical body of the work is composed of the photographies produced by the educators, as well as of the talks and writings that happened in 10 meetings carried out between 2010 and 2011. The analysis of the materials happens from relations woven in three axles linked to the capacities of the photographic images, namely: the register of the visible and for the visible, possibility of strangeness and act of creation. In this work, we place the practice itself of photographing and of looking at photographies as a way of practising the care of the self and the group of aesthetic formation like space of experimentation that intends to favor the strangeness and to mobilize the creation of other ways of thinking and of acting in the childlike education.

The objective of the master's thesis called 'Photograph as the copyright and copyright protection of photographer' is to describe the basic foundations and characteristics of the current regulation of copyright work, specifically of photography. The Czech legal system do not contain a complex regulation of photography; therefore, the thesis deals with the individual aspects of copyright law related to the characterisation of photographs as a copyright work, the rights of photographers or their rights related to the protection of their copyright. The thesis is based primarily on copyright law commentaries, copyright regulation on the Czech, international and European level and on the decisions of both Czech and foreign courts due to rapid development of copyright law in the information society and the inflexibility of the current legislation. Due to the author's interest in photography, the thesis is enriched with personal observations from her own experience with photography. The thesis is divided into seven chapters. The first deals with the general description of copyright, its principles, basic concepts and the moment of copyright formation. Chapter two focuses on photography and discusses the subject of copyright protection. Chapter three deals with authorship of photography, defines under...

Confirmar a realidade e realçar a experiência por meio de fotos é um consumismo estético em que todos, hoje, estão viciados. Fotografias possuem uma enorme importância na sociedade moderna e, geralmente, só se registra aquilo que se quer mostrar. Aqueles que vivem nas favelas cariocas, no entanto, não dominam a imagem construída a seu respeito, freqüentemente associada a representações construídas pela mídia, diretamente ligadas à guerra do tráfico de drogas. O número de projetos sociais (áudio) visuais vem crescendo em todo o Brasil, visando valorizar a auto-estima e as relações sociais, além de formar profissionalmente os jovens. Esperam, dessa forma, torná-los cidadãos e dá-lhes uma visibilidade social positiva. Na favela Santa Marta, no Rio de Janeiro, a ONG Olhares do Morro criada em 2002 pretende criar uma representação da favela alternativa a esta, onde a violência é foco único, contribuindo para a construção de uma nova realidade, onde o cotidiano e a paisagem local são focalizados pelos moradores, transformando o olhar sobre seu lugar de moradia. Compreender que fotos são essas e por que se diferenciam das até então produzidas, além de perceber como transformam olhares externos (e internos) em relação às favelas são questões atuais. Aqui, pretendo fazer uma análise das imagens produzidas pelo grupo, pensando sobre a relação das imagens fotográficas com sua identidade, e como estas podem contribuir para a transformação de um estigma social. / Photographs have taken an enormous importance in modern society. Usually, we register what we want to be viewed, but if we consider, for example, photographs of the population of the favelas, it is notice able that the most commonly presented image of the people, their environment and their daily life is not similar to the reality they perceive. They, thus, do not have any control on their image, as it is diffused by others. This image is associated, frequently, with representations spread by the media, which are always related to drug traffic and urban violence. For a few years, a great number of visual social projects, with the objective of valuing the regard of oneself and of establishing bonds between the various social layers in the different districts of the cities, have been developed, in Brazil. Among the innumerable projects, there are those that investin vocational training in photography for young favela inhabitants from Rio. The Olhares do Morro organization develops a work that aims at changing the representation of the favela, whose violence always takes the first place. Its main objective is to present another reality, in which their local daily lives and landscapes are recorded photographically by the young inhabitants. They set out to transform the external (and internal) view on the favelas, since photographs have the faculty of changing the perception which one builds of the other or of a place. This memory also analyzes the photographs taken by young photographers of Olhares do Morro as the image of themselves and of the place where they live that they want to transmit. It is, thus, a matter of considering their new trade - photography - a means of building another identity and of denying the social marks related to drugs and marginality.