This thesis is pursued to the possibilities of using photography in teaching of mathematics. I have gathered enough information for condition of use photography. In the next step I followed the objectives: to analyze selected mathematics textbooks in terms of using photography according its six roles; documenting the influence of photography in exercises on their answer; creating a task with photographs that would complement the gaps in their use in didactic materials. Analysis has shown that most often use photos in textbooks is in a motivational role, that does not carry relevant information to solve a excercise. The effectiveness of using a photo is verified on several excercises, which showed a higher abundance of right answers and pointed out the need to look for the right format, motive and quality of the photograph. This excercises also confirmed grasping a decimal system by pupils through a money model. The next part of the thesis is devoted to the creation of excercises with photography in various roles, which are less common in educational materials than the motivational role. Excercises include many different activities from manipulative to creative. Activities with phootgraphs is possible to use in different teaching organizations and can be used in teaching very quickly and easily. An...

In the first chapter we will have a look at the transformation and evolution of a photo-camera which on its way to become a medium ofcommunication came a long way from cumbersome glass-plate machinery to the current ubiquitous day-to-day personal digital companion. In the second chapter we will explore the effects of digitisation on the theoretical notion of photography and its position in the present context. Next we will touch on the movement of pragmatism (primarily those versions ofCharles Sanders Peirce and William James) that will allow us to regard our matter as a more holistic interactive problem than dissected pieces of a puzzle; and we will also recapitulate parts of Peirce's theory of signs that are relevant to our cause. The fourth chapter is about the ability of symbolic reasoning - a feature so unique in the world that it is only found in humans and whose principles are very close to the thought-sign system that Peirce devised. In the fifth and last chapter we will see how all that connects to the photographs themselves when they are used in the current digital intention-laden semiotic manner. I

This final thesis aims to introduce the reader with the Helsinki School phenomenon especially with the less known facts. The great deal of attention is dedicated to the historical development of teaching photography in Finland which precede the phenomenon itself. First chapter is chronologically ordered for better clarity, since the origination to present time. Other important part is dedicated to the term of the Helsinki School and to Timothy Persons as its founder. The third and last chapter is focused to selection of six artists of the Helsinki School. Their work is described by the monographic method. After reading my work, the reader should have a clear idea of what preceded the Helsinki School, what is characteristic for it and who are its members. I would like to approach the reader with this topic from as many angels as possible so that the picture of the Helsinki School is complete.

The thesis primarily aims to analyze the situation of DIY culture on the specific case of contemporary DIY photography through a research focused on photography students and alumni at Czech photography programmes. The research consists of fifteen in-depth interviews conducted with the students or alumni providing qualitative data that is analyzed quantitatively using the interviewees' coded answers. The secondary aim is to provide a theoretical background to the topic of DIY photography, exploring the connection between photography and DIY (Do It Yourself) in its historical context, as well as its current standing, as well as to introduce the photography medium's evolution briefly, focusing on the methods that were discovered, or applied, with a certain level of amateurism or through contribution from another field. Later, it explores the concept of DIY in different forms, subcultures, and contexts to draw a conclusion of how photography and DIY relate. The thesis' findings are centred around the struggle photographers feel when it comes to DIY in digital technologies, mainly due to limits in their skills in hands-on processes compared to analogue photography and the overall level of satisfaction with the available technology.

The diploma thesis Photographic essay of yesterday and today (comparison of media image of war conflicts in news periodicals) presents comparison of the visual image of photographic essay of the 50s and 60s - the classical photojournalism period, with the contemporary one. The diploma thesis examines photographic essay, using war photography as an example. For clarity, photographic essays from two major war conflicts are examined. The pictures published in the American news magazine LIFE dealing with the Vietnam war are used as an example of the photographic essay produced during the classical photojournalism era of the 50s and 60s. Photographic essays published by the members of VII Photo Agency committed to the Iraq war serve as an example of the contemporary work. This thesis analyses the individual photos and the visual image of photographic essay on the whole, too. The aim of the diploma thesis is to demonstrate that modern technology highly affects the visual image of today's photographic essays.

Pilařová, A.: Skupinový portrét v digitální době a jeho zpracování ve výtvarné výchově. [Závěrečná diplomová práce] Praha 2018 - Univerzita Karlova, Pedagogická fakulta, katedra výtvarné výchovy, 87 s The thesis focuses on photography, different kinds of photographic manipulations and viewer's ability to determine how much was the picture edited. On the theoretical and practical level, it deals with implementation of social networks into the fine art classes and its benefits for pupils. The didactic tasks concentrate on a photographic group work. Pupils apply their experiences and they consciously use artworks of other artists as a base for their own creations. The author uses photographic manipulations as a device to create a new image. These images are based on the didactic part; the social network serves as a place where the author meets viewers. KEYWORDS manipulation of photographs, social networks, usage of social networks in class, group portrait, photographing in art class

This work focuses on a photographic archive of a czech sculptor Stanislav Sucharda (1866-1916). Stanislav Sucharda was one of the leaders of modern Czech sculpture. The aim of the work is to investigate and analyze a part of the private fund related to photographic reproductions of Sucharda's sculptures and work. The collection shows a wide range of photographic techniques and materials. Counting both glass negatives and plastic negatives, photographic positive techniques including albumen prints, colloid prints and various types of silver-gelatin prints. On negatives and positives there are secondary interventions. There are framing, varnish, retouching or photocollages. The photo collection is not classified according to any code, chronological or thematic distribution is missing. The aim will be trying to find links between sculpture models and photographs. Determining the purpose for which the photographs were taken should create a mosaic of Stanislav Sucharda's work with photographs. I would like to compare this archive with archives in art institutions, which have photographs associated with Stanislav Sucharda in their funds. On the basis of the research, the thesis will be confirmed or refuted that this part of the private-owned photographical collection of the Stanislav Sucharda's Foundation was used by the sculptor purely for his creative activities and were not the representations of his work. Consequently, the key role of photographing Sucharda's sculpture and the confirmation of whether Stanislav Sucharda himself photographed will be the key outline. In exploring the possibilities of Stanislav Sucharda's work and his co-operation with photographs, I will use the approach of comparison with Auguste Rodin's photographic collection, who was Sucharda's friend.

The diploma thesis defines the therm "cliché" in art and specifically in photography. This definition stems from examining concepts that are closely related to cliché: paraphrase, kitch, copy, reproduction. The thesis also pinpoints various examples of cliché in today's photography. It follows the development of certain clichés and aims to answer the question that concerns the repetitive search and imitation of certain images, even by authors who are undoubtedly aware of their existence, as well as frequency.

The thesis deals with photographic work of conceptual artist Ivan Kafka and questions regarding the thin line between technical documentation and its artistic quality. It focuses primarily on issues related to the documentation of art and presentation of  installa-tion records. Issues accompanying photographic documentation of art are presented using examples of specific works by Ivan Kafka and his approach from a technical and artistic point of view. The text is built around thematic interviews with the author Ivan Kafka, art photographer Martin Polák and art historian Pavlina Morgan. The purpose of  these interviews was to present a specification of Kafka's documentary approach  from different perspectives and point to the exceptional, as well as problematic aspects of his photographic work. Individual subject areas are developed considering the problematic questions concerning documentation of photography.

The aim of this diploma thesis is to design and implement a web application focused on rephotography management. Analyze existing solutions, create list of features and simple graphical user interface. It also includes a design of API structure to communicate with the mobile application. Essential application requirements include adding photos on a map and combining different photos in a photo editor with enhanced auto-alignment features.