Lightness and darkness pervades much of my work which is visible in images of abandoned, secluded spaces. Light symbolizes hope and joy. It can also reference the spiritual connotation of new life as well as the end of life. The physical movement of light, its ephemeral quality, and its reflectivity is the deciding factor in my choice for using a camera without a lens and using traditional painting techniques. In my photographic mixed media work, I am drawn to the unique qualities of the pinhole camera, the exposure of light on the surface of film yields imagery that blurs the line between the familiar and the ethereal. Exposures from a pinhole camera materialize over time, perhaps seconds, perhaps minutes. There is no viewfinder to preview the image, which makes capturing an image pleasingly accidental. In my oil painting, I use photographic references and a limited palette. Much like my photographs, I create areas of light juxtaposed against deep shadow. The processes of using overlapping layers of transparent glazes over a warm-toned ground are used to achieve this chiaroscuro effect. By using these approaches, a sense of the dramatic is conveyed sometimes in contrast to the quiet nature of the subject.

M.Phil. (Optometry) / Significant vision impairment caused by uncorrected distance or near vision (at a level defined by The World Health Organization as a disability) affects over 600 million people globally (9% of the world’s population). Over 3.5 billion people (52% of the world’s population) need some form of vision correction to see clearly. By 2020, this number is projected to reach 6.1 billion, 66% of the world’s population. Vision impairment is an important issue affecting the everyday lives of these 3.5 billion people worldwide. Two thirds of those affected live in the less developed world where the majority do not have easy access to eye care, eye examinations and affordable spectacles. Purpose If an ametrope or presbyope pricks a small hole into a leaf, piece of paper or cardboard and looks through it, he or she will usually experience improved acuity providing there is no central cataract or any ocular pathology. Rural communities, who have no access to eye-care or vision specialists, with vision problems, may benefit from looking through a pinhole while looking far and near. Many who are longsighted or presbyopic, may have problems reading their Bibles for example. They may only have candles as a source of light at night. They could improve their vision by looking through a small hole while reading. The purpose of this study is to explore the possibility of such a simple and almost cost free device contributing to solving this need. Method Uncompensated (without the pinhole) near or proximal visual acuities (VAs) were measured and recorded on one eye of 45 presbyopic subjects over the age of 50 years in photopic (250 lux) and then scotopic (20 lux) conditions. There were 36 male and 9 female subjects. Their ages ranged between 50 and 74 years with an average of 59 (SD = ±7.52) years. The ambient room illumination for photopic conditions was measured using a Sekonic Lumi Model 246 light-meter. No visual or pathological conditions or requirements were set for the subjects. The subjects were asked to read the smallest letters on the near chart by moving their head closer ...

Šiame darbe analizuojamos sąvojo aš paieškos mene, taip pat teorijų apie sąvajį aš analizės filosofiniu ir psichologiniu aspektais. Praktiniame darbe pateikiamas fotografijų ciklas - pinhole fototehnika atlikti autoportretai. / In this work analysed the self search in art, and the theories analyze of the philosophical and psychological aspects. In practical work presents series of photographs - self-portraits by pinhole technology.

Conferencia online a cargo de la Carrera de Comunicación y Fotografía. / Los expositores Felipe Sangiorgi, musicólogo, fotógrafo y escritor venezolano; y Pilar Pedraza, fotógrafa y representante del Festival Pinhole. Cuentan sobre cómo se inició la cámara pinhole, la participación que se realiza a nivel internacional e incluso cómo se puede construir una pinhole desde casa. Sangiorgi, desde su llegada a Lima ha venido realizando un proyecto fotográfico sobre el uso de la bicicleta en la ciudad titulado "Bicinopeica" ya que ha empleado únicamente cámaras estenopeicas construidas para tal fin. Por su parte, Pedraza lleva desde hace nueve años el proyecto de fotografía participativa llamado Verte MirArte con niños y jóvenes de una zona en la periferia de Lima, proyecto que es reconocido como un Punto de Cultura por el Ministerio de Cultura del Perú.

International Telemetering Conference Proceedings / October 28-31, 1996 / Town and Country Hotel and Convention Center, San Diego, California / The yawsonde is a device used at the U.S. Army Research Laboratory (ARL) to investigate the in-flight behavior of spinning projectiles. The standard yawsonde consists of a pair of solar cells and slits that respond to solar rays. The sun is used as an inertial reference to measure the pitching and yawing motions of the projectile. An FM telemetry package transmits the sensor data to a ground receiving station for analysis. The standard yawsonde package is housed in an M577-type artillery fuse body. The spinning motion of the projectile serves as the sampling rate for the measurements. When the spin rate is not significantly higher than the yaw rate, multiple sets of sensors must be used to effectively increase the sampling rate. The pinhole yawsonde sensor was developed for projectiles that require multiple sets of sensors in a very limited space. This pinhole yawsonde consists of a number of sensors located behind pinholes placed around the projectile's circumference. Since each pinhole makes a yaw measurement, many measurements, or samples, are taken with each projectile spin revolution. More pinhole sensors may be added to increase the measurement sampling rate. One application of this yawsonde is to aid in evaluating the performance of tactical devices and inertial systems onboard projectiles with limited space for instrumentation.

This research studies the effectiveness of teaching art appreciation to home schooled children ages 10-17 through a DBAE curriculum in pinhole photography via a weekend workshop. An autoethnographic approach to recording data about the students’ learning and my experience as their teacher was used in the research. Data was recorded as journal notes during and after each workshop from my experiences as their teacher and analyzed according to a grounded theory based on open coding. The workshop was open for registration of up to 25 home schooled students of any race, male or female, from the ages of 10 - 17. While the research reports a successful change in students’ appreciation of photography as a result of the workshop, parental values proved to be both an obstacle and area of potential future research.

Thesis (M.A.E.)--Georgia State University, 2007. / Title from file title page. Paula Eubanks, committee chair; Akela Reason, Melody Milbrandt, committee members. Electronic text (153 p. : ill.) : digital, PDF file. Description based on contents viewed Oct. 31, 2007. Includes bibliographical references (p. 151-153).

A presente pesquisa, intitulada A Captura da Paisagem: entre apreensões fotográficas por câmera obscura e registros sonoros, analisa os procedimentos de instauração do trabalho A Captura da Paisagem, abarcando as questões que emergem das práticas com câmeras obscuras fotográficas. Neste contexto, são investigadas as relações conceituais e teóricas envolvidas nas ações de apreensão e registro espaço-temporal que ocorrem nesta produção, que envolvem longas durações nas obtenções fotográficas, bem como a simultânea gravação de registros sonoros. Além disto, a pesquisa trata das questões imbricadas nas possibilidades de junção de tais elementos dentro das proposições de apresentação do trabalho. / The present research, entitled Capture of the landscape: between photographic apprehensions through camera obscura and sonorous records, analyzes the procedures for the instauration of the work Capture of the Landscape, including questions emerging from the practice with camera obscura photography. In this context, the conceptual and theoretical relationships involved in the actions of time-space apprehension and recording that occur in this production are investigated. They involve photographic attainments of long duration as well as the simultaneous recording of sonorous registries. In addition, this research deals with the questions involved in the possibilities of junction of such elements within the presentation propositions of this work.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2014-09-22T15:08:42Z No. of bitstreams: 2 Calaça, Mariana Capeletti.pdf: 5089274 bytes, checksum: 030dc8ab81f5790f06ddbd1614265f0d (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2014-09-22T15:10:17Z (GMT) No. of bitstreams: 2 Calaça, Mariana Capeletti.pdf: 5089274 bytes, checksum: 030dc8ab81f5790f06ddbd1614265f0d (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-09-22T15:10:17Z (GMT). No. of bitstreams: 2 Calaça, Mariana Capeletti.pdf: 5089274 bytes, checksum: 030dc8ab81f5790f06ddbd1614265f0d (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-11-19 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This research aims to discuss the reappropriation of photographic processes developed and popularized during the XIXth century by contemporary Brazilian artists. Based on the study of the concept of expanded or contaminated photography this work investigates such artistic manifestations, called as neopctorialist, especially those ones produced with pinhole camera. Therefore, I analyze the photographic series created with pinhole by the artist Dirceu Maués. Unlike the XIXth century Pictorialism, which claimed the statute of art for photography by approaching itself to the aesthetics of painting, neopictorialist works explore the language of photography itself, allowing its approach with other artistic media and languages. / Essa pesquisa tem como objetivo principal discutir a reapropriação de processos fotográficos artesanais do século XIX por artistas contemporâneos brasileiros. Partindo do estudo do conceito de fotografia expandida ou contaminada, o trabalho investiga essas manifestações artísticas, consideradas como neopctorialistas, sobretudo os trabalhos desenvolvidos com câmeras estenopéicas, ou pinhole. Para tanto, analiso as séries fotográficas produzidas com pinhole pelo artista paraense Dirceu Maués. Diferentemente do pictorialismo oitocentista, que reivindicava o estatuto de arte à fotografia pela aproximação com a estética da pintura, as obras neopictorialistas exploram a linguagem própria da fotografia, permitindo sua aproximação com outros meios e linguagens artísticos.

A presente pesquisa, intitulada A Captura da Paisagem: entre apreensões fotográficas por câmera obscura e registros sonoros, analisa os procedimentos de instauração do trabalho A Captura da Paisagem, abarcando as questões que emergem das práticas com câmeras obscuras fotográficas. Neste contexto, são investigadas as relações conceituais e teóricas envolvidas nas ações de apreensão e registro espaço-temporal que ocorrem nesta produção, que envolvem longas durações nas obtenções fotográficas, bem como a simultânea gravação de registros sonoros. Além disto, a pesquisa trata das questões imbricadas nas possibilidades de junção de tais elementos dentro das proposições de apresentação do trabalho. / The present research, entitled Capture of the landscape: between photographic apprehensions through camera obscura and sonorous records, analyzes the procedures for the instauration of the work Capture of the Landscape, including questions emerging from the practice with camera obscura photography. In this context, the conceptual and theoretical relationships involved in the actions of time-space apprehension and recording that occur in this production are investigated. They involve photographic attainments of long duration as well as the simultaneous recording of sonorous registries. In addition, this research deals with the questions involved in the possibilities of junction of such elements within the presentation propositions of this work.