本研究將從法律及管理觀點，分析博物館文物典藏品影像檔案的法律性質，介紹大英博物館及法國羅浮宮的藏品影像授權商品業務的經營經驗，並以國立故宮博物院為例，說明博物館數位文物圖檔授權對於文化創意產業所發展發揮之效益，也透過廠商訪談獲得對於其現行授權業務營運之意見。本研究最後也對於現行典藏機構之藏品影像管理及授權業務提出幾點建議：針對不當使用行為主張法律上權利予以制止、創設特別權利保護資料庫、權利管理電子資訊及防盜拷措施保護條款之準用、積極開發潛在智慧財產，以獲得法律保護、公正、公開、公平地經營藏品影像授權業務、鬆綁或彈性適用法令程序，設計多元且適合的商業模式、平等、互惠、雙贏的合作條件、創造衍生著作、創造附加價值、確認藏品影像品質並因應不同用途進行標準化、及透過網路、集中管理典藏產出之影像檔案等建議。 / Technology of Digitalization has improved the enforcement of National Digital Archives Program. The outcomes of NDAP bridged the conserving authorities and the industries and inspired their commercial interactions. Domestic conserving authorities, which are usually museums or galleries, should promote and manage the outcomes in a positive way for the industries to make use of. This paper explains the legal protection, especially intellectual property laws, of the image of the painting, calligraphy, antique or other historical artwork. The experiences of operating commercial business of the British Museum and the Louvre Museum are introduced. Then, this paper takes National Palace Museum as an example, to investigate its commercial business related to the licensing of artworks images, and to gather the opinions from its cooperating enterprises. In the end, the paper submits several suggestions on legal and managing point of view about the operation of art images to the conserving authorities.

In this essay we follow a professional female photographer on the island of Gotland in Sweden around the turn of the twentieth century. The story of Laura Stenman’s life has for a long time been hidden, but through literature- and archival studies, her biographical story was pieced together and revealed during the winter of 2019. Through this essay her family life and photographic work has emerged. In parallel, a piece of the history of photography and the first photographers on Gotland are revealed.  The essay highlights the educational opportunities and advice available to those interested in photography at this time. It also describes the photographic studios that Laura Stenman and her second husband worked in. How the studio was planned and what inventories you would find in them. It also describes which assignments were the most common, which customers they had, how they communicated with the customers and how they found new ones. The economic conditions and aspects both for the photographer and the person to be portrayed, were of the utmost importance, and this is also being discussed. Some of the photographic pictures that Laura Stenman made were found and studied in detail in order to find patterns in her work. The essay also highlights how both the married and unmarried women were affected by changes in two big reforms in Sweden. First in 1846 when new opportunities arose for those who wanted to carry on activities in the craft profession, and second in 1864 when a business freedom regulation was introduced. Laura Stenman was married twice an both marriages changed her life and her history in different directions which is also being discussed throughout the essay. / I denna uppsats får vi följa en kvinnlig yrkesverksam fotograf på Gotland under sekelskiftet 1900. Laura Stenmans historia var länge dold men genom litteratur- och arkivstudier pusslades hennes biografiska skelett under vintern 2019 åter samman. En bild av hennes familjeliv och fotografiska arbete utkristalliserade sig. Parallellt har frågor om när fotokonsten och fotograferna egentligen kom till Gotland och vilka de första fotograferna var, besvarats. Vilka utbildningsmöjligheter och råd fanns för den intresserade vid denna tid?Arbetet beskriver de fotoateljéer som Laura Stenman och hennes andra man var aktiva i. Vart de byggdes upp, hur de planerades, fungerade och vad som fanns i dem. Även vilka fotografernas vanligaste uppdrag var, vilka kunder de hade, hur de kommunicerade med dem och hittade nya. De ekonomiska förutsättningarna och aspekterna både för fotografen och den som skulle låta sig avporträtteras var av allra största vikt vilket också diskuteras. Ett antal fotografiska visitkort som Laura Stenman lämnat efter sig studerades närmare. Vid 1846 års reform avskaffades skråväsendet i Sverige vilket gav nya möjligheter för den som ville bedriva verksamhet inom hantverksyrken och 1864 infördes sedan näringsfrihetsförordning. Uppsatsen lyfter hur både gifta och ogifta kvinnor påverkades av detta. Laura Stenman själv var gift två gånger och dessa giftermål påverkade hennes liv och historieskrivning i olika riktningar vilket har diskuterats genom hela arbetet.

Modeling the "thick description" of photographs began at the intersection of personal and institutional descriptions. Comparing institutional descriptions of particular photos that were also used in personal online conversations was the initial phase. Analyzing conversations that started with a photographic image from the collection of the Library of Congress (LC) or the collection of the Manchester Historic Association (MHA) provided insights into how cultural heritage institutions could enrich the description of photographs by using informal descriptions such as those applied by Facebook users. Taking photos of family members, friends, places, and interesting objects is something people do often in their daily lives. Some photographic images are stored, and some are shared with others in gatherings, occasions, and holidays. Face-to-face conversations about remembering some of the details of photographs and the event they record are themselves rarely recorded. Digital cameras make it easy to share personal photos in Web conversations and to duplicate old photos and share them on the Internet. The World Wide Web even makes it simple to insert images from cultural heritage institutions in order to enhance conversations. Images have been used as tokens within conversations along with the sharing of information and background knowledge about them. The recorded knowledge from conversations using photographic images on Social Media (SM) has resulted in a repository of rich descriptions of photographs that often include information of a type that does not result from standard archival practices. Closed group conversations on Facebook among members of a community of interest/practice often involve the use of photographs to start conversations, convey details, and initiate story-telling about objets, events, and people. Modeling of the conversational use of photographic images on SM developed from the exploratory analyses of the historical photographic images of the Manchester, NH group on Facebook. The model was influenced by the typical model of Representation by Agency from O'Connor in O'Connor, Kearns, and Anderson Doing Things with Information: Beyond Indexing and Abstracting, by considerations of how people make and use photographs, and by the notion of functionality from Patrick Wilson's Public Knowledge, Private Ignorance: Toward a Library and Information Policy. The model offers paths for thickening the descriptions of photographs in archives and for enriching the use of photographs on social media.

Cette étude est une analyse de l’évolution de la notion de photographie pure, dans les discours en Grande-Bretagne, entre 1860 et 1917. Définie comme une image non retouchée ni manipulée, la photographie pure est envisagée en miroir de la retouche et des interventions sur les négatifs et positifs. Une exploration des journaux britanniques a mis en lumière cette préoccupation constante pour la définition et la légitimité des moyens de la photographie. Premièrement, la question des combination printings, de la notion de vérité comme essence de la photographie ainsi que l’aspect des images photographiques sont source de débats. Les discours d’acceptation et de rejet des pratiques de ciels rapportés, de coloriage et de la retouche apportent un éclairage sur la genèse de la retouche. Ces points, corrélés à la présence de la photographie pure dans les expositions, soulignent l’émergence d’une volonté puriste dès les années 1860. Enfin, les discours sur la photographie pure de Peter Henry Emerson et de Frederick H. Evans sont mis en parallèle et contextualisés au sein du pictorialisme, pour mieux en dessiner la définition. Ainsi se relient, dans ces débats sur la pureté, les limites de l’expérimentation et les aspects de la photographie, les figures d'Alfred H. Wall, Oscar Gustav Rejlander, Julia Margaret Cameron, Robert Demachy, Alvin Langdon Coburn et Alfred Stieglitz. Leurs discours et leurs recherches éclairent un idéal à atteindre, difficilement applicable, un mythe plus qu’une réalité. / This study is an analysis of the evolution of the notion of pure photography, in discourses happening in Great Britain between 1860 and 1917. Defined as a photograph that is neither retouched nor manipulated, pure photography is envisaged in regard to retouching and negative and positive interventions. An exploration of British periodicals has brought to light the constant preoccupation for the definition and legitimacy of the photographic tools. First, the question of combination printings, the notion of truth as the essence of photography and the aspect of photographic images are a source of debate. The discourses of acceptance and rejection of practices such as printing-in clouds, colouring and retouching shine light on the genesis of retouching. These aspects, paralleled with the presence of pure photography in exhibitions, highlight the emergence of a purist aspiration as early as 1860. Finally, the discourses of Peter Henry Emerson and Frederick H. Evans on pure photography are confronted and contextualized within pictorialism, to further its definition. Thus, through these debates on purity, the limits of experimentation and the aspects of photography, the figures of Alfred H. Wall, Oscar Gustav Rejlander, Julia Margaret Cameron, Robert Demachy, Alvin Langdon Coburn and Alfred Stieglitz are connecting. Their discourses and research put forth an ideal, out of reach, impractical, a myth more than a reality.

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.

Determination of immeasurable parameter, the Manning’s roughness coefficient, is a complex problem of open channel hydraulics for more than 200 years. Now it doesn’t exists a method for determining an exact value of 1D roughness coefficient for computation water levels in watercourses. Doctoral thesis is focused for comparing different approaches to determine a roughness coefficient, especially for empirical equations. It were sought empirical equations, which are suitable for wide spectrum of water stages, types of bed material, channel shapes and channel dimensions. Selected equations were sorted on the base of two methods by the best values of medians and standard deviations of measured and computed values of roughness coefficients. Furthermore, it were compared qualities of roughness coefficient determination by tables, by photographic catalogs, CES software and by Cowan’s method, which has been extended and recalibrated. The computed values of roughness coefficients by those four methods were compared with values from own measurements in 27 locations in watercourses near of Brno and Frýdek-Místek. Also it were compared the grain size curves determined by sieving, by Wolman’s method and by Subjective estimation. Doctoral thesis is marginally focused for beginning of sediment movement, roughness coefficient of bedforms (dunes), grass and trees.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.

Transparencies: New Zealand from 1953 to 1974 through the Slide Photography of Gladys Cunningham This thesis focuses on the amateur slide photography of Gladys Cunningham, formerly of Onehunga, Auckland. Viewed collectively, these slides provide a visual autobiography of a New Zealand woman’s life, as well as a larger social narrative. As Gladys’s granddaughter, I argue that Gladys’s 35mm colour transparencies, nostalgic fragments that memorialise a family history, are informed by the social history of European New Zealanders between the early 1950s and early 1970s. Gladys’s slides reflect stabilities and changes for the photographer herself, her family and New Zealand society. While the term “transparency” suggests that the meaning of a slide can be understood by all, in reality further contextual information is necessary to appreciate the family and public histories from which these scenes have been separated. To situate Gladys’s slides, I refer to popular magazines and tourist texts from this period, including The Weekly News, National Geographic and New Zealand Holiday, and to commercial slides, postcards and travel marketing texts. I analyse the near absence of Maori within Gladys’s slides and travel journalism, suggesting that their omissions represent a lack of dialogue between Pakeha and Maori. In New Zealand and overseas, slide photography was the popular medium for recording extraordinary family events during the 1950 and 1960s. Through an analysis of memory, leisure and photography, this study examines how Gladys’s photography documents family and community membership and celebration. I explore how aesthetically pleasing representations of family leisure also contain partly concealed clues to less positive memories and to secrets that were not unique to this family. I discuss the impact of private and public transport on Gladys’s slide photography, noting how car travel facilitated spatial and temporal freedoms, and how slide photography strengthened connections to extended family and distant communities. In contrast, Gladys and Jim’s later dependence on coach transport enhanced their ability to take slides and expanded the “family” gaze of their camera, but limited their photographic opportunities.