Digital Photography

We propose a complete digital camera workflow to capture and render high dynamic range (HDR) static scenes, from RAW sensor data to an output-referred encoded image. In traditional digital camera processing, demosaicing is one of the first operations done after scene analysis. It is followed by rendering operations, such as color correction and tone mapping. In our workflow, which is based on a model of retinal processing, most of the rendering steps are performed before demosaicing. This reduces the complexity of the computation, as only one third of the pixels are processed. This is especially important as our tone mapping operator applies local and global tone corrections, which is usually needed to well render high dynamic scenes. Our algorithms efficiently process HDR images with different keys and different content.

This study proposes an AI-assisted guiding model for integrating photographic place criteria into digital place making processes in urban landscape revitalization. Building on theories of environmental perception, imageability, and landscape aesthetics, the study conceptualizes Instagrammability not as a transient cultural trend but as a perceptual-aesthetic indicator grounded in spatial qualities. Photographic place criteria were derived from the literature and tested through a CLIP-based multilabel image-text analysis using images of globally Instagrammed urban landscapes. The validated criteria were subsequently applied to a former industrial heritage site, the Pasabahce Glass Factory in Istanbul, using DALLꞏE based generative image editing to produce multiple design alternatives. The results demonstrate that recurrent spatial qualities such as geometric clarity, lighting, dominant patterns, and architectural distinctiveness significantly enhance photographability. The proposed model guides designers and planners in digital placemaking processes while emphasizing ethical considerations, participatory integration, and spatial sustainability.

Рецензируемое издание представляет собой публикацию коллекции из 350 фотографий, сделанных поручиком П. П. Родственным в 1901 г. в ходе рекогносцировки Памира. Авторами очерков и составителями фотоархива являются действительный член Королевского общества по изучению Востока (The Royal Society for Asian Affairs) (Глазго, Великобритания) М. К. Басханов и – на момент работы над книгой – сотрудник Института восточных рукописей (ИВР) РАН С. Л. Шевельчинская. Фотоархив П. П. Родственного хранится в фототеке Отдела рукописей (ИВР РАН). В книге опубликованы и другие фотографии, иллюстрирующие присутствие российских войск на Памире, в частности из научного архива Русского географического общества.
Фотоархив богат не только географическим материалом. Десятки фотографий могли бы, в частности, составить основу этнографических исследований. Высокой оценки заслуживает качество сохранности фотографий: переданы даже мелкие детали ландшафтов, костюмов, архитектурных орнаментов и т.д. Часть фотографий сопровождается выдержками из путевых заметок путешественников по Памиру, что углубляет контекст фотоархива П. П. Родственного. Работа М. К. Басханова и С. Л. Шевельчинской посвящена памяти выдающего ираниста, исследователя Памира академика И. М. Стеблина-Каменского. Исключительный уровень представленного материала позволяет признать ее достойнейшим памятником великому ученому.

Reflected-Ultraviolet photography is applied to the evidence of crime, Archaeology, and Dermatology. In the past, Ultraviolet photography was done with standard black-and-white film. Because emulsion of film is more sensitive to near UV light than CCD(Charge Coupled Device) or CMOS(Complementary Metal-Oxide-Semiconductor)of digital camera. In this research, we purpose to improve qulity of ultraviolet photographs and to find out the best alternative digital camera by utilizing a cunsumer digital camera. To achieve theses, we removed IR cutoff filter from digital camera. And by using modified UV pass filter, we verified the increase of image resolution of digital ultraviolet photographs. Also, we analyze reproducibility of digital ultraviolet photographs according to type, size, pixel of image sensor. Furthermore, this research resulted in the development of an practical digital camera system by utilizing a cunsumer digital camera. Eventually, it will contribute to practical use in the various field of digital ultraviolet photographs ■ keyword :|Digital Ultraviolet Photography|IR Cutoff Filter|UV Pass Filter|Digital Camera|Invisible Photography|

From Sztuka światła (1979) to Generative Post-Photography
I did not expect a forgotten manuscript to answer a contemporary question.
In the spring of 2026, while reviewing a typewritten text I had completed in Kraków in 1979 under the title Sztuka światła (The Art of Light), I began reading it as an archival document. The pages, typed in red ribbon on aging paper, discussed heliocentric myths, optical science, kinetic art, pulsating light, visual perception, and the role of information in contemporary life. My intention was simple: to preserve the text. Yet as I moved from page to page, something unexpected occurred. Concepts that I associated with much later projects—interactive systems, generative processes, transformed photography, and the instability of perception—were already present. Not in their contemporary forms, but as questions. Forty-seven years later, those questions remain remarkably familiar.

In “Collage 26,” I explore, through photography and collage, the convergence of inner-outer experience into a unified perception. Disparate bits of paper evoke the idea of equally disparate bits of sensory experience. Through the act of collage-making, these bits of sensory experience organize to form a coherent image, alluding to both imagination and memory.

The paper presents an innovative approach that can assist survey methods by applying AI algorithms to improve the accuracy of point clouds generated from UAV images. Firstly, the work individually analyses several photogrammetric accuracy parameters, including reprojection error, angle of intersection between homologous points, number of cameras for single Tie Point calculation, verifying that a single parameter is not sufficient to filter noise from a photogrammetric point cloud. Therefore, some of the calculated parameters were analysed with the Self-Organizing Map (SOM) and a K-means, to check the impact of the precision parameters for reducing the noise associated with the definition of the 3D model. In the case study, in both machine learning clustering algorithms used, it was observed that the parameter that most influences noise in photogrammetric point clouds is the angle of intersection.

The perceived conflict between science and faith is a modern fabrication that ignores the theological foundations of the Scientific Revolution. This paper explores how the greatest cosmological breakthroughs-from the heliocentric model to the Big Bang-were pioneered by men of deep conviction. For these figures, the universe was not a cold, random void, but a rational, mathematical Book of Nature authored by a supreme intelligence. By studying the stars, they believed they were uncovering the very mind of God.

This guideline for emerging practice, developed within the NWO Museum Grant project "Print on Demand: Printing digital-based artworks through a collaborative mode of production." research project, explores how museums can effectively manage the process of translating a digital file into a photographic print. As such, it is meant to ensure a careful and thoughtful approach every step of the way, from acquisition to (re)printing. This guideline is specifically intended for collection caretakers responsible for the acquisition, conservation and presentation of digital-based photography. This document is the outcome of numerous interviews and discussions with professionals from various fields, including artists, photograph paper and time-based conservators, conservation technicians, conservation theorists, curators, project leaders, registrars, digital art and digital heritage preservation experts, and printing specialists. Their collective expertise has been instrumental in shaping this guideline.

The extensive integration of smartphone photography has tremendously influenced plastic surgery, providing unmatched convenience, accessibility, and image quality. This comprehensive review explores the various applications of smartphone technology in the care of plastic surgery patients, from preoperative planning to postoperative monitoring. It emphasizes sophisticated smartphone camera capabilities and the potential for artificial intelligence-driven applications. However, using smartphones gives rise to noteworthy ethical considerations, requiring the implementation of solid regulations, adherence to guidelines, and personnel training to guarantee patient privacy and data security. This article is a valuable resource for healthcare professionals seeking to integrate smartphone photography into their practices while navigating the complex ethical landscape of digital imaging in healthcare.

For his 1874 book The Moon: Considered as a Planet, a World, and a Satellite, which was among the first photomechanically illustrated texts, amateur astronomer James Nasmyth incessantly sketched views of volcanic craters as he peered through a telescope. After making dozens of drawings, he created plaster three-dimensional models based on imagined composites of these drawings. Nasmyth then photographed the plaster models to use as illustrations for his reports and articles, and took the models to scientific society presentations as illustrations of his theories. He went to such great lengths to grapple with and gain an multidimensional understanding of the structures and behaviors of volcanos, and to aid other astronomers in doing so, too. Nasmyth's manner of thinking fit into broader Victorian-era scientific dialogues that privileged both the facticity gleaned from material and from virtual visual analogies.

This study explores perception of information value as a communication strategy in complex text composition, using television advertisements of food consumer goods as an example. Despite the increasing complexity of advertisements, little research has examined how viewers interpret the presented information. The influence of complex textual elements on consumer perception therefore remains unclear. Using Multimodal Discourse Analysis Theory, this study investigates how audiences perceive the information value conveyed in complex texts. A qualitative approach was employed, incorporating unstructured interviews and focus group discussions to explore audience perceptions. Findings reveal that advertisers strategically craft complex texts to attract and retain viewer attention. However, factors such as politics, religion, and culture shape audience interpretations. The study underscores the need for advertisers to align textual composition with audience expectations for effective communication. These insights benefit advertisers, marketers, and linguists regarding multimodal communication.

In the rapidly evolving landscape of e-commerce, high-quality product photography is essential for consumer engagement. However, traditional photography is resource-intensive, and conventional AI-generated imagery often fails to maintain the strict consistency required for Color, Material, and Finish (CMF). This paper introduces Rewarx Studio AI, a specialized framework designed to bridge the gap between generative flexibility and professional-grade precision. By integrating advanced Diffusion Models with the Segment Anything Model (SAM) and customized ControlNet architectures, Rewarx Studio AI enables the generation of photorealistic product images while preserving immutable product characteristics.

Práce je snahou o vhled do problematiky autenticity fotografie. Obsah je rozdělen do dvou oddílů, kde v prvním jde o nastínění problematiky manipulace na pozadí historického přijetí fotografie a v rámci fotografického média jako takového. Druhou část tvoří analýza a porovnání jiných interpretačních rámců fotografie a to zejména ze strany zpravodajství a umění v českém a světovém kontextu. /
The work tries to inspect the issue of the authenticity of photography. The content is divided into two sections: the first outlines the issue of manipulation against the background of the historical reception of photography and within the photographic media as such. The second part is the analysis and comparison of other interpretative frames of photography and especially news and art in the Czech and world context.

The standard ISO 12233 method for the measurement of spatial frequency response (SFR) for digital still cameras and scanners is based on the analysis of slanted-edge image features. The procedure, which applies a form edge-gradient analysis to an estimated edge spread function, requires the automated finding of an edge feature in a digital test image. A frequently-considered (e.g. ISO-13660, -19751) attribute of printed text and graphics is edge raggedness. There are various metrics aimed at the evaluation of the discontinuous imaging of nominally continuous features, but they generally rely on an estimation of the spatial deviation of edge or line boundaries, the tangential edge profile (TEP). In this paper, we describe how slanted-edge analysis can be adapted to the routine evaluation of line and edge quality. After locating and analyzing the edge feature, the TEP is estimated. The estimation of RMS deviation and edge spectrum are then described.

The main body of this paper consists of a commentary on §14 of Peirce's 1867 paper "On a New List of Categories," in which Peirce derives the concept of Symbol within his general theory of representations. Rather than aiming at a comprehensive study of the New List, the paper closely observes how Peirce arrives at his definition of Symbol in the New List by elucidating its main ideas. The paper suggests that Symbol occupies a unique conceptual locus in Peirce's theory of categories and that his definition of Symbol in the New List is consistent with Peirce's later formulations of Symbol. The paper includes five brief case studies of Peirce's formulations of Symbol over the years 1866 -c.1911.

This research weaves together technique, bibliographic study, practical
experimentation, and critical reflection to update the practice of nineteenth-century historical photographic processes, both within teaching environments and in contemporary aesthetic and visual production. It is dedicated to the study and application of historical photographic processes from digital negatives, combining technique and reflection to propose practical guides to beginning artists, teachers, and researchers. Drawing on nearly three decades of experience in the field (in both teaching and image-making), as well as a systematic survey of manuals and references in printed books and online publications, the work maps the current state of knowledge dissemination and identifies gaps, adaptations, and possibilities in the
Brazilian context. From this point of interest, guides were developed to look as clear and accessible tools. Their elaboration took place collaboratively, through application and experimentation within the Al-Químicos research group, enabling the recording of procedures, results, and challenges encountered. In this process, the kitchen was re-signified as a space of exchange and photographic alchemy, where the manual handling of chemicals, the waiting time, and the care with materials echo culinary
preparation. Inspired by this analogy, the guides adopted a recipe-book model, with lists of ingredients and methods of preparation, making the procedures more intuitive and inviting, while highlighting the artisanal dimension of photographic practice. Activities within the research group generated not only images but also technical and conceptual debates, culminating in exhibitions and projects that functioned as spaces for knowledge exchange and direct encounters between artists, works, and audiences. Historical processes are presented as forms of resistance and
deceleration, capable of reconnecting photographic practice to tactile and sensorial experiences that the flux of social media tends to dilute. This reflection also considers hybridities, where the digital and the chemical converge to create new modes of artistic expression, in which the analog is not merely a vestige of the past but a possible future, where physical objects and experiences gain greater significance amid virtual saturation. Thus, this research proposes a return to historical photographic practices not as a nostalgic act but as an aesthetic, political, and sensorial choice—one
that offers presence, encounter, and meaning-making in resistance to the accelerated dynamics of the digital world.

In this paper, we present a recommendation system for automatically recentering and cropping digital still pictures that exhibit capturing artefacts. Autoframing images not only yields better visual pictures but more importantly allows us to remove undesirable artefacts such as lens obstructions by fingers, cellphone straps, or back heads. We report on our real-time prototype system that is targeted to consumer digital still cameras. 1.

New Zealand is considering implementing congestion-charging
technologies to improve traffic flows and reduce emissions in
to reduce traffic, is recognised as a solution to urban inefficiencies affecting businesses (Asian Development Bank, 2015, p.5). The New Zealand Institute of Economic Research estimates decongestion benefits in Auckland to be of the value
city centres. This article reviews current congestion-charging of $0.9–1.3 billion annually (Ministry
technologies against New Zealand’s Privacy Act 2020 and identifies varying privacy risks with these technologies. In particular, using global navigation satellite (GNS) systems and an on-board unit can pose a risk of collecting data that exceeds congestion management
of Transport, 2020a). Additionally, congestion charging promises to improve New Zealand’s environment and quality of life. The current government acknowledges challenges for low-income groups, but sees congestion charges as part of a broader requirements. Additional issues arise from data processing for plan to shift from road user charges and purposes other than congestion charging. Overall, the findings indicate the need for stricter control over who can process what type of personal data and the use and retention of such data.

Since its early days, machine vision has been deeply dependent on photographic databases. As visually "intelligent" machines have rapidly advanced, this connection has strengthened and reversed the equation, with contemporary photographic imagery significantly influenced by the techniques developed in computer sciences. Using a technique called "histogram of oriented gradients", Sometimes Your Eyes Do Not See explores the machinic gaze that increasingly permeates contemporary artistic practices and reflects on the ways it affects our perception of the world.

В данной статье представлена комплексная характеристика средств и способов обучения фотографии, создаваемых в Российской империи на протяжении XIX – начала XX вв. Автор изучает различные источники получения теоретических и практических навыков по фотографии, доступные современникам: учебная литература, статьи в отечественных журналах, посвященных фотографическому делу, специализированные курсы, а также коммуникация в сообществах, посвященных фотографии. В статье анализируется институционализация фотографии через повышающийся уровень распространения знаний о данной технологии путем создания различных пособий и коммуникативных пространств (общества, кружки, курсы) на протяжении выбранного периода. Особое место в исследовании отводится рефлексии авторов учебных материалов о месте фотографии среди других видов искусства, что является отражением многогранности фотографии как вида творчества и чертой эпохи соответствующих дискуссий в культурном сообществе. Автор обращает внимание на роль изобретателя С.М. Прокудина-Горского в деле популяризации преподавания фотографии в формате курсов в начале XX в. Исследование содержит выводы о достигнутом уровне обучения фотографии и возможных стратегиях изучения фотографического дела в России к 1917 г.

This study explores the potential of a/r/tography as a visual methodology in the context of heritage tourism, integrating academic, scientific, and artistic dimensions. Rooted in Arts-Based Educational Research (ABER), it employs artistic photography to reframe visual perceptions of Jesuit Guaraní Missions heritage sites. The research follows a qualitative approach, incorporating (auto)biographical elements, as well as documentary and bibliographic research. Photographic expeditions were conducted across 12 historical sites, including seven UNESCO World Heritage Sites and five national heritage sites in Brazil, Argentina, and Paraguay. The resulting visual compositions form an unprecedented photographic essay, revealing new layers of cultural memory and tourism representation. This study understands artistic photography as a language capable of establishing other possible realities through aesthetic, symbolic, and narrative choices. By fostering educational engagement, it highlights the role of photography in heritage awareness and transdisciplinary learning. The findings offer fresh insights into the visual positioning of heritage sites, particularly those in a state of ruin, and emphasize the potential of a/r/tography in expanding tourism methodologies. This research contributes to discussions on cultural heritage representation, proposing artistic photography as a means to mediate, reinterpret, and sensitize audiences to the historical and aesthetic values embedded in these spaces.

Tourism is a complex, hypermodern phenomenon shaped by media, visual culture, and technological innovation. Traditionally approached through economic or managerial lenses, it increasingly demands transdisciplinary perspectives that incorporate aesthetic, cultural, and artistic dimensions. In this context, the present study aims to investigate the emerging aesthetics involved in the construction of the concept of artistic drone photography, with a particular focus on its touristic application in historical sites. By combining elements of art, tourism, and technology, the research introduces a novel approach to interpreting and creating visual records of cultural heritage through the intentional artistic use of drones. The theoretical framework draws on key authors in the fields of artistic photography and drone imagery, emphasizing the aesthetic and compositional aspects that distinguish this type of photography from conventional documentation. Methodologically, the research is grounded in a/r/tography (Irwin, 2013), which integrates the identities of artist, researcher, and teacher through fluid, experience-based inquiry. Fieldwork will be conducted at two UNESCO World Heritage Sites — São Miguel Arcanjo in Brazil and San Ignacio Miní in Argentina — chosen for their historical significance, cultural richness, and potential for creative visual exploration. Drone-based image capture will adhere to local preservation protocols and aims to experiment with framing, light, movement, and composition in ways that evoke emotion, interpretation, and narrative, thereby enriching the touristic experience. Preliminary findings reveal a notable absence of the term "artistic drone photography" in major academic databases, highlighting the originality and conceptual innovation of the study. The research proposes this term as a new category of visual and narrative production in tourism — one that blurs the boundaries between art and technology, documentation and creation. Ultimately, this study contributes to the expansion of visual methodologies in heritage tourism and opens new avenues for the artistic interpretation of touristic spaces through aerial perspectives, offering new and meaningful possibilities for cultural engagement.

This essay presents my vision as a traveling a/r/tographer (artist/researcher/teacher) of an investigation aimed at (re)signifying visualities in historical sites of the former Jesuit Guaraní Missions through artistic photography. Through an (auto)biographical narrative, the text presented reveals itself as an experiential and poetic itinerary that translates nuances of true journeys of discovery captured during photographic expeditions carried out in the Historical Site of São Miguel Arcanjo, a UNESCO World Heritage Site located in the municipality of São Miguel das Missões, Brazil. The creative process resulted in visual creations that reveal other presences in this place and also allowed for innovative aesthetic approaches when compared to those directed at similar historical sites, as well as providing reflections on the preservation, conservation, and sustainable development of the built cultural heritage and the natural environment that surrounds it.

Aerial photogrammetry is one of the main methods obtaining geospatial information. After entering the 21st century, aerial photogrammetry technology has fully entered the digital age, and the quality of digital aerial photography results will directly affect the quality and accuracy of results of surveying and mapping .Therefore, it is necessary to inspect the quality of digital aerial photography results. In the process of digital aerial photography, image quality directly affects the quality of the results. It is of great importance to make its image quality inspection. Based on the analysis of image quality index of the results of digital aerial photography and domestic and international current situation of quality inspection technology of aerial photography results, the author has put forward the index system which consists of subjective evaluation index and objective evaluation index. Based on objective evaluation index which includes the maximal displacement of image points, image definition, uniform degree of image contrast and brightness and image integral color performance, the author has researched automatic inspection methods of image quality of the results of digital aerial photography, and has realized automatic quality inspection of image quality of the results of digital aerial photography.

It seems that the vast majority of readers did not understand this unique and comprehensive book. It is a unique and complete analysis of the communist system in Romania, the most communist system in Eastern Europe. First of all, the way prices were set—from the budget of the feared Securitate (secret police)—a state secret, to a common prostitute, from a common box of matches, the cheapest item, to a passenger plane. Not to mention the rates for services and utilities, which exasperated the population, leading to the explosion of discontent in December 1989.

Volume II continues with prices for products and services, the communist system—salaries, social assistance, health, military service, finance-banks, culture and entertainment, etc. Obviously, at the end, I have a summary chapter on the collapse of the communist system and the causes of its downfall in December 1989. The book is unique—nothing you find in the pages of Volumes I + II of the book can be found anywhere else; everything is absolutely original, nothing resembles anything that has been written on the subject to date. The reason is extremely simple: Romanians, as so often in history, have made a clean sweep, fabricating a false and sugar-coated history that bears no resemblance to reality. The author was fortunate to find in the archives a large number of letters from German citizens who were about to leave the country, which prove that this was indeed the case, namely that a month before the collapse of the system, at the 14th Congress of the Romanian Communist Party, Ceaușescu had reduced the entire population of Romania—workers, peasants, intellectuals—to the status of serfs of the state, his own serfs, who were given just enough to survive. Nowhere else in the world, not even in North Korea, had a political system strayed further from the communist ideal, which is why the system collapsed more due to internal causes, with Ceaușescu and his wife having no other fate than to be shot like two rabid dogs. The purpose of this book is to remind Romanians of the historical truth, even a century from now.

Finally, we have published the English version of the book free of charge, to make it accessible to those interested internationally.

This chapter explores a riddle: what can we learn from digital images that circulate the internet under a “disco” guise, even when the stylistic and cultural traits of disco are hardly present? Particularly of interest here are several images named as “disco dancing girls” that arguably operate on the register of [disco] “sightings,” activating layered mechanisms of apophenia and stereotyping. When considered as cryptic sightings, these online “disco girls” reveal something important about the images they occupy, as well as about “disco” as a present-day signifier. Firstly, by animating historical girlhood references, these images offer us revelations about internet’s girl cultures today and historically. The duality of objectification and agency, upon a closer look, is found equally in the historic school discos and contemporary “soft girl” bedroom-disco social media posts. Secondly, the disco naming reframes these images as they cluster with other “poor images.” Finally, we learn something significant about the “disco” label as it produces “open images” or opens out the unlikely disco representations toward new realities, narratives, and fantasies.

Geo-tagging is a fast-emerging trend in digital photography and community photo sharing. The presence of geographically relevant metadata with images and videos has opened up interesting research avenues within the multimedia and computer vision domains. In this paper, we survey geo-tagging related research within the context of multimedia and along three dimensions: 1) Modalities in which geographical information can be extracted, 2) Applications that can benefit from the use of geographical information, and 3) The interplay between modalities and applications. Our survey will introduce research problems and discuss significant approaches. We will discuss the nature of different modalities and lay out factors that are expected to govern the choices with respect to multimedia and vision applications. Finally, we discuss future research directions in this field.

En este trabajo se verán ejemplos específicos de arte contemporáneo
mexicano que reflexionan sobre estrategias para responder críticamente
a la intersubjetividad digital y sus consecuencias en la época de las redes
sociales. El artículo parte del análisis de seis artistas participantes en la
XVII Bienal de Fotografía del Centro de la Imagen, a los cuales aborda
bajo los enfoques de la e-imagen propuesta por José Luis Brea, y la Antivisualidad desde la perspectiva de Miguel Ángel Hernández Navarro. Al
final, se presenta el proyecto “The complex” del artista Andrew Roberts, el
cual sintetiza la tensión entre vida real y vida simulada, a la vez que hace
visible un futuro aún por venir.
El planteamiento central del artículo es que la e-imagen ocasionó una
especie de crisis epistémica y ontológica que modificó las relaciones humanas. La subjetividad, basada primariamente en el contacto directo con
otros individuos, pasó a una intersubjetividad basada en el intercambio
de experiencias efímeras, en el acto de compartir simulacros de experiencias sensibles. En el arte contemporáneo y en los estudios visuales
esta situación se ha vuelto un tema recurrente, por lo que se considera
necesario analizar la especificidad de proyectos sólidos que responden a
la genealogía de la teoría crítica.

In this paper, we present a stereoscopic research and training environment for archaeologists called ArtifactVis2. This application enables the management and visualization of diverse types of cultural datasets within a collaborative virtual 3D system. The archaeologist is fully immersed in a large-scale visualization of on-going excavations. Massive 3D datasets are seamlessly rendered in real-time with field recorded GIS data, 3D artifact scans and digital photography. Dynamic content can be visualized and cultural analytics can be performed on archaeological datasets collected through a rigorous digital archaeological methodology. The virtual collaborative environment provides a menu driven query system and the ability to annotate, markup, measure, and manipulate any of the datasets. These features enable researchers to re-experience and analyze the minute details of an archaeological site's excavation. It enhances their visual capacity to recognize deep patterns and structures and perceive changes and reoccurrences. As a complement and development from previous work in the field of 3D immersive archaeological environments, ArtifactVis2 provides a GIS based immersive environment that taps directly into archaeological datasets to investigate cultural and historical issues of ancient societies and cultural heritage in ways not possible before.

Simultaneity of points of view, or polycentric views, characterizes much of the twentieth century visual culture, both in geometry and in the arts, allowing the description of complex spatial relationships. We will review the analysis of two drawing of Picasso, their local charts, and re-assemble the charts in atlases, to reconstruct the position in three dimensions of the represented object, much following the methodology established in Riemannian geometry to glue local information, when possible, into a global one. The second painting had never been analyzed before, to our knowledge. This talk is dedicated to Mauro Francaviglia, who encouraged us with stimulating questions about curvature.

Women stereotyping is always interesting to be discussed. This paper is concerned with verbal and non-verbal meanings to portray Indonesian moms, or Emak-Emak represented in two official videos of GoMart and GrabMart. This study owes the framework of Halliday's transitivity system (2014) to analyse the verbal meaning and Kress & Leeuwen's interpretation of visual grammar to analyse the non-verbal meanings. The outcome of the verbal analysis using transitivity shows that the procedures used by GrabMart and GoMart are focused differently. While GrabMart focuses more on the material process of "doing" rather than "happening", GoMart tends to emphasis on the relational process of "attributive" and primarily on "identification". GoMart portrays Emak-Emak's stereotypes more objectively, whereas GrabMart is more subjective to shape the viewer's perception of them. This study offers recommendations for future research by taking a comprehensive approach to the phenomenon of gender stereotyping in online audiovisual advertisements, analyzing the interaction of verbal and non-verbal meanings in various advertisements, thoroughly examining the relevant stream of metafunctions, and proposing ideas.

A photographic shutter regulates the duration of light reaching a photosensitive surface. Modern digital cameras employ diverse mechanical, electronic, or hybrid shutter technologies to synchronise light admission with a sensor's capacity to collect and reset charge. To clarify longstanding terminological inconsistencies, this paper first introduces a systematic, four-dimensional framework for classifying camera shutters alongside standardised terminology for describing key temporal quantities in the image-formation pipeline. It then focuses on progressive (i.e., rolling) exposure mechanisms in CMOS-based cameras, where sequential row-integration results in intra-frame temporal offsets across the image sensor that distort image geometry during camera or subject motion. A simple experimental setup utilising a 1,000 Hz flickering LED enables direct measurement of these temporal offsets, revealing substantial delays in electronic rolling shutters compared to mechanical or hybrid rolling-blind focal-plane types. Here, these effects are described by refining the broadly adopted notion of sensor readout into the proposed concept of shutter transit time. Finally, real-world image-based 3D modelling experiments on architectural case studies in Vienna, Austria, highlight the impact of slow shutter transit times in two typical rolling-shutter sensors. Subsequent bundle adjustments in Agisoft Metashape Professional demonstrate that even imperceptible rolling-shutter artefacts can significantly degrade camera exterior orientation and 3D surface quality, although the use of compensation algorithms markedly improves results. Overall, the paper highlights that sensor readout architecture—rather than exposure duration alone—is a decisive factor in determining the geometric fidelity of image-based 3D surface reconstructions.

O trabalho determina o coeficiente de volume para o calculo volumetrico de madeira na regiao do cerrado de Brasilia. O fator de forma obtido pela cubagem rigorosa forneceu um valor medio de 0,6. O coeficiente de volume obtido atraves de 15 pilhas correspondeu a 0,364.

In this paper we describe a technique of Curriculum-Focused Design, and the aspects of our research experience on which the technique is based. Our technique is a variant of Druin's Cooperative Inquiry. Cooperative Inquiry is a well-developed design practice for children, but it has been practised largely outside the classroom. Druin's technique has also been developed in American schools, which

In the interview, Raphaelle Branche, a member of the Conseil supérieur des Archives and a specialist in the administrative mechanisms that control access to documents, will examine the attempts made by the French government in recent years to remove documentation from consultation. Archives and access to documentation are a 'classic' battlefield of historical research in all countries of the world. But it is in France that the most advanced reflections on the relationship between democracies and public documentation have arisen, and where state intervention in the defence of national memory has been the strongest.

Ka-band integrated range and bearing-angle formation sensor called the Autonomous Formation Flying (AFF) Sensor has been developed to enable deep-space formation flying of multiple spacecraft. The AFF Sensor concept is similar to that of the Global Positioning System (GPS), but the AFF Sensor would not use the GPS. The AFF Sensor would reside in radio transceivers and signal-processing subsystems aboard the formation-flying spacecraft. A version of the AFF Sensor has been developed for initial application to the two-spacecraft StarLight optical-interferometry mission, and several design investigations have been performed. From the prototype development, it has been concluded that the AFF Sensor can be expected to measure distances and directions with standard deviations of 2 cm and 1 arc minute, respectively, for spacecraft separations ranging up to about 1 km. It has also been concluded that it is necessary to optimize performance of the overall mission through design trade-offs am...

Purpose: The aim of this study was to determine the effect of the patient’s age, gender and race/ethnic on the shade and mold of the maxillary anterior teeth. Methods: After IRB approval, a computer program was written to identify a list of patients from the Electronic Health Record database and to record demographic and tooth selection information from patients treated with at least one complete maxillary denture. Data was manually collected from tooth prescription forms and confirmed with a corresponding review of the EHR for 1,265 patients. Statistically, cross tabulations were constructed and the chi square test employed. The Mann-Whitney “U” test and the Kruskal-Wallis test were used to compare groups. Results: Chi square tests revealed significant p values for gender versus tooth form (p < 0.001), width (p < 0.001) and shade (p < 0.001), but not significant for gender versus facial contour. Similarly, the p value was not significant for ethnicity versus tooth contour....

Combination of various data sources has been demonstrated more effective than using them separately. Information retrieval is significantly improved by synergies between laser scanner and optical imagery. Digital photography relies on traditional methods for ...

The human visual system has the capacity of instantaneously receiving a large amount of visual information about an abundance of details and numerous colors in a different dynamic range of light. To reproduce this is challenging since even the latest technology has limited abilities regarding the representation of the actual lighting. The HDR technology reproduces lightning rather faithfully. As a result, different techniques and software tools for creating HDR images are currently being developed. So far, combining LDR images of the same scene, taken with different exposition times, to produce an HDR image, has seemed to be the most reliable and the most common method in use. The area is in the early stages of development, so several software development companies are working on tools for the purpose of getting better and better results. Since neither a standardized method nor a possible candidate for a superior or even a preferable tool has emerged up to now, assessing the quality of HDR images created with each of the available and marketed tools appears to be an inevitability. The evaluation in this case is, nevertheless, a delicate matter, since the end user is the human eye, i.e., the very subjective human perception. To overcome this difficulty, both psychophysical and psychometrical experiments are extensively used. The study is aimed at analyzing the possibilities and the end results of the LDR-to-HDR procedure, using each of the leading software tools for creating HDR images. The goal is to contribute to the creation of standard methods and tools for creating images with high dynamic range.

This essay explores the (re)prinঞng of Ruler of the Stars (2009), a digitalbased photographic artwork by Yelena and Viktor Vorobyev, part of the Stedelijk Museum Amsterdam’s collection. Drawing on photography historian Geoffrey Batchen’s concept of ‘making’ and ‘taking’ moments, I
examine the different phases in the life of a photographic image, from its
initial creation to its re-materialization within the museum context. By
detailing the production process, the essay highlights the crucial role of
museum staff in navigating technical, material and conceptual challenges.
It emphasizes the need for collaboration within a network of specialists,
including conservators, printers and fabricators, to ensure that the artwork’s physical realization aligns with the artists’ intentions. In addition,
the argument sheds light on the broader dynamics of contemporary art
production, illustrating how the creation of Ruler of the Stars depends not
only on technical expertise but also on social skills and effective relationship management between artists, museum staff and technicians.