Digital Photography

Digital photographs function in an entirely different way from traditional photographs. Or do they? Shall we accept that digital imaging represents a radical rupture with photography? Is an image, mediated by computer and electronic technology, radically different from an image obtained through a photographic lens and embodied in film? If we describe film-based images using such categories as depth of field, zoom, a shot or montage, what categories should be used to describe digital images? Shall the phenomenon of digital imaging force us to rethink such fundamental concepts as realism or representation?
In this essay I will refrain from taking an extreme position of either fully accepting or fully denying the idea of a digital imaging revolution. Rather, I will present the logic of the digital image as paradoxical; radically breaking with older modes of visual representation while at the same time reinforcing these modes. I will demonstrate this paradoxical logic by examining two questions: alleged physical differences between digital and film-based representation of photographs and the notion of realism in computer generated synthetic photography.
The logic of the digital photograph is one of historical continuity and discontinuity. The digital image tears apart the net of semiotic codes, modes of display, and patterns of spectatorship in modern visual culture - and, at the same time, weaves this net even stronger. The digital image annihilates photography while solidifying, glorifying and immortalizing the photographic. In short, this logic is that of photography after photography.

The role of CMOS Image Sensors since their birth around the 1960s, has been changing a lot. Unlike the past, current CMOS Image Sensors are becoming competitive with regard to Charged Couple Device (CCD) technology. They offer many advantages with respect to CCD, such as lower power consumption, lower voltage operation, on-chip functionality and lower cost. Nevertheless, they are still too noisy and less sensitive than CCDs.

This dissertation is an introduction to the term meta-photography that suggests it both as an already established genre and a new ontological distinction that emerged with digital photography. It explores self-referential, self-reflexive and self-critical states of photography in the digital culture as outcomes of the ‘death of photography as an autonomous medium’; then contrasts it with the abundance of digital images. It focuses on the digitized, networked and manipulated photography by giving an extensive survey of the existing literature on the different propositions of ‘next-photography’ suggested by philosophers, scholars and critics of 1990s onwards. The self reflexivity of photography in digital culture explored through the works of both established and emerging artist such as Oğuz Yıldız, Phil Chang, Berkay Tuncay, John Hillard, Victor Burgin, Lucas Blalock, Liz Deschanes, Meggan Gould, Erik Kessels, Mishka Henner, Joachim Schmid, Thomas Ruff and Corinne Vionnet revealed a potential multifaceted character of meta-photography. It operates in two meta-levels, both as an act of self-criticism and a new microscopic ontological difference. Digital photography manifests itself always by reading and referencing two computational codes; ‘data’ and ‘meta-data’. The research undertaken for this paper revealed that it is possible to join all existing ‘next-photographies’ and merge them under meta-photography that also refers to all pixel-based photography.

The objective of this article is focusing on analysis theoretically about students' independence in studying. It discussed based on theory and supported by some findings in some published research journals. Some theories such as learning theories, independency in learning and metacognition. In order to get a precision argumentation as the innovative idea in learning process. Analysis result said that students who got opportunity in doing their study independently will have better result in class instead. As the conclusion, we need to provide opportunities for students to construct their own knowledge. Educational institution has a role to provide better facilities in supporting independent learner, and family has a role in shaping as independent learner.

Over 130 million images with the hashtag ‘selfie’ have been uploaded to the social media platform Instagram. In The Allure of the Selfie: Instagram and the New Self-Portrait, Brooke Wendt examines the significant hold that the ‘selfie’, or the digital self-portrait, has over self and society. Media theorist Vilém Flusser observed that society could become programmed to snap pictures for the sole benefit of cameras, as though under a ‘magical spell’, if photographs continued to be undecoded. Wendt examines this magical spell by analyzing users’ self-portraits on Instagram, one of the most popular contemporary platforms for image production.

Marshall McLuhan’s reframing of the Narcissus myth elucidates the allure of the selfie. McLuhan notes that Narcissus was numb to his mirror image and did not recognize his reflection as his own – he thought his image was that of another. As though unaware that we are looking at ourselves, we quickly become numb to our selfies, taking numerous pictures of ourselves without hesitation. It is the promise of pluripotentiality that fascinates us; however, we are also perpetually tempted and trapped by the notion of creating an ideal self with digital tools such as filter and hashtag functions. In the five essays comprising The Allure of the Selfie: Instagram and the New Self-Portrait, Brooke Wendt thus questions the changing nature of identity and the self-portrait in the age of Instagram.

This article attempts to understand the fate of conventional notions of photographic indexicality and referentiality in the digital era where digital images have replaced analog images almost completely. Following a critical overview of relevant literature on digital photography, the author makes a conceptual distinction between referentiality and indexicality with respect to their implications for the notion of photographic realism. With a particular focus on the concept of indexicality, defined herein as an element that radically determines the definition of photography, the author argues that the image becomes a "thing" in digital images in the absence of indexicality by using Jean-Paul Sartre's notion of "illusion of immanence", a claim that would strongly challenge the view that digital images can still be regarded as photographs that themselves presuppose a particular relationship between an image and its object.

The article addresses digital photographic self-portraiture in social media (so-called selfies) as an emerging sub-genre of amateur photography. The article is part of the research project Selfiecity.net (2013-2014), based on the analysis of 3,200 selfies shared via Instagram from five global cities: Bangkok, Berlin, Moscow, New York, and Sao Paulo. This research project was conducted by Software Studies Initiative, a research lab led by Dr. Lev Manovich that uses computational and data visualization methods to analyze large numbers of photographs shared via online image-sharing platform, Instagram.
The author places the selfie into the context of history of photography and seeks to inscribe this sub-genre in a broader genealogy of photographic self-portraiture. This article argues that selfie is more than an image: besides the visual information it equally consists of multiple layers of metadata. Furthermore, this hybrid unit cannot be separated from the conditions and means of its production, dissemination, and consumption.

This article attempts to understand the fate of conventional notions of photographic indexicality and referentiality in the digital era where digital images have replaced analog images almost completely. Following a critical overview of relevant literature on digital photography, the author makes a conceptual distinction between referentiality and indexicality with respect to their implications for the notion of photographic realism. With a particular focus on the concept of indexicality, defined herein as an element that radically determines the definition of photography, the author argues that the image becomes a " thing " in digital images in the absence of indexicality by using Jean-Paul Sartre's notion of " illusion of immanence " , a claim that would strongly challenge the view that digital images can still be regarded as photographs that themselves presuppose a particular relationship between an image and its object.

w r i t i n g a h i s t o r y o f t h e i d e a t h a t " s e e i n g i s b e l i e v i n g " would doubtless be an impossibly circuitous undertaking, but there would be certain junctures to which the meandering historian's attention would be quickly drawn. The traditional milestones of mimetic progress would seem the logical guideposts on this journey, as they confront their viewers with the inadequacies of settled representational practices and the structures of knowledge and conviction upon which those practices were predicated. It is tempting to think that excavating the historical specificity of photography's illusionism would constitute but one more chapter in such an enterprise. This book, however, posits a far tighter linkage between the emergence of this medium and the foundations of the study of the production of knowledge. That a shared historical milieu nurtured both the objects of this study and the conceptual approaches that underpin it poses challenges, but offers considerable opportunities, too.

The portrait has always been a focal point of the arts, whether it be the immortalisation of a lover's shadow by a maid of Corinth , a bust of a Roman emperor or the enigmatic and elaborate face of 1 the Mona Lisa. Although portraiture has been practiced since neolithic times, it took a pivotal role in society particularly since the Renaissance, as commissioned portraits became more popular , 2 documenting not only the likeness of the rich and famous, but at a later stage also the face of society itself, notably during times of revolution, when the common man became more important than the elite . Nevertheless, portraiture has always been looked down on by artists as a lesser 3 form of art due to its association with copying (mimesis) rather than interpretation. It was relegated "to the level of a mechanical exercise, rather than a fine art. " 4 Even though throughout most of history portraiture was associated with a status symbol , the 5

A comprehensive guide to photography fundamentals. Covers camera equipment, composition rules, film and digital techniques, darkroom basics, and an introduction to major genres including portrait, street, landscape, fashion, and documentary photography.

Aesthetics, in the world of art and photography, refers to the principles of the nature and appreciation of beauty. Judging beauty and other aesthetic qualities of photographs is a highly subjective task. Hence, there is no unanimously agreed standard for measuring aesthetic value. In spite of the lack of firm rules, certain features in photographic images are believed, by many, to please humans more than certain others. In this paper, we treat the challenge of automatically inferring aesthetic quality of pictures using their visual content as a machine learning problem, with a peer-rated online photo sharing Website as data source. We extract certain visual features based on the intuition that they can discriminate between aesthetically pleasing and displeasing images. Automated classifiers are built using support vector machines and classification trees. Linear regression on polynomial terms of the features is also applied to infer numerical aesthetics ratings. The work attempts to explore the relationship between emotions which pictures arouse in people, and their low-level content. Potential applications include content-based image retrieval and digital photography.

We propose the term ‘snapshot culture’ to name the combination of ontological, technological, aesthetic and practical shifts in contemporary photographic experience. By ‘photographic experience’, we mean the extension of the medium of photography to all those objects, processes and practices that continue to posit the ‘photographic’ as the primary means of understanding and communicating about our lives. The digitalization of photographic aesthetics and related media practices provides an elective case for studying some of the most challenging developments in visual media aesthetics within the broader landscape of the post-medium condition and for reflecting on how photography theory has responded to such challenges in the post-theory era. This special issue offers a critical investigation of photography’s ‘persistence’ in the media experience through both an analysis of concrete objects and phenomena and the refinement of theoretical approaches to photography.

Auch wenn man fest davon überzeugt ist, dass Selfies die niedrigste Form aller künstlerischen Ausdrucksweisen sind, kommt man um wiederholte Diskussionen über die Werte oder den Werteverfall, den sie verkörpern, nicht herum. Der Widerwille gegenüber den Selfies hat seinen Ursprung in einem ethischen Instinkt, der alles auf die Ernsthaftigkeit der Absicht prüft; und diese Ablehnung des Selfies als oberflächlich, selbstverliebt und kindisch ist in sich ein Selbstportrait des Gegners als solider Bürger, für den Kunst eine höhere Funktion hat als die Selbstvermarktung und die Zerstörung aller ästhetischen Werte. Denn so viel ist richtig: das Selfie verlangt nichts weniger als die Vernichtung aller früheren Kunstformen. Dadurch beansprucht es, die erste Kunstform im Zeitalter des Netzwerks zu sein. Gibt es irgendjemanden, der das hier liest und der in den letzten 24 Stunden zu keiner Zeit online war? Die Frage ist: wie fühlt sich das an? Vielleicht fühlt es sich nicht mehr wie beim ersten Mal an, weil wir schon so sehr daran gewöhnt sind. Bei genauerem Hinsehen unterscheidet es sich jedoch ziemlich von den meisten anderen Dingen. Wenn ich an meinem Schreibtisch sitze, kann ich sagen, dass das Buch näher zu mir liegt als die Kaffeetasse und dass der Sessel weiter weg steht als das Telefon. Aber was bedeutet es zu sagen, dass online etwas näher oder weiter weg ist? Online lassen sich Entfernungen nicht in Metern oder Fuß messen, sondern in Klicks. Wie viele Klicks braucht es, um das Buch, das ich will, bei Amazon zu bekommen? Wie oft muss ich über den Bildschirm streichen, bis ich bei den Nachrichten angelangt bin? Dieser Unterschied lässt folgern, dass in der Welt des Internets eine andere Logik operiert, und darauf basierend entsteht die Forderung nach einer Kunst, die diese Veränderung verarbeitet, indem sie sie zur Erfahrungsmöglichkeit macht. Nicht nur weil die früheren Kategorien des Raums (nah / weit, oben /unten, davor / dahinter) im Raum des Netzwerks nicht zu greifen scheinen, sondern auch, weil für andere binäre Kategorien dasselbe gilt. Klassifizierungen wie "gut" und "schlecht", "Original" und "Kopie" und so fort sind online unwichtiger als Fragen nach der Anzahl der "Likes", die ein Selfie bekommt, wie es gehashtagged ist, wie es retweetet und geteilt wird. Solche Erwägungen, und nicht die Fragen nach dem ästhetischen Anreiz, entscheiden über seine Wirkung. Für Walter Benjamin ist "die Sprache die höchste Verwendung des mimetischen Vermögens; [da] sie nun das Medium darstellt, in dem sich die Dinge … begegnen und zueinander in Beziehung treten." 1 Für Benjamin ist die Sprache der Schmelztiegel allen Lebens, da sie gleichzeitig Ausdruck von Rationalität als auch von Fantasie und Sinnlichkeit ist. Doch diese Art zu denken wird zunehmend 1 Walter Benjamin, "Lehre vom Ähnlichen", Gesammelte Schriften II, Frankfurt a. M. 1985: 209.

Abstract: This research was conducted to develop a broader comprehension of the transformations occurred within the area of photography after the advent of the digital media. In order to do so, we have chosen as our object of study the field of advertising photography, an area of work and expression through images that has suffered significant transformations. The focuses of the empirical research are the dynamics of work -creation and production -of advertising photographers, the technological transformations within photography and the perception and reception of aesthetical matters regarding the photographic image.

Stratigraphic archaeological excavations demand high-resolution documentation techniques for 3D recording. Today, this is typically accomplished using total stations or terrestrial laser scanners. This paper demonstrates the potential of another technique that is low-cost and easy to execute. It takes advantage of software using Structure from Motion (SfM) algorithms, which are known for their ability to reconstruct camera pose and three-dimensional scene geometry (rendered as a sparse point cloud) from a series of overlapping photographs captured by a camera moving around the scene. When complemented by stereo matching algorithms, detailed 3D surface models can be built from such relatively oriented photo collections in a fully automated way. The absolute orientation of the model can be derived by the manual measurement of control points. The approach is extremely flexible and appropriate to deal with a wide variety of imagery, because this computer vision approach can also work with imagery resulting from a randomly moving camera (i.e. uncontrolled conditions) and calibrated optics are not a prerequisite.
For a few years, these algorithms are embedded in several free and low-cost software packages. This paper will outline how such a program can be applied to map archaeological excavations in a very fast and uncomplicated way, using imagery shot with a standard compact digital camera (even if the images were not taken for this purpose). Archived data from previous excavations of VIAS-University of Vienna has been chosen and the derived digital surface models and orthophotos have been examined for their usefulness for archaeological applications. The absolute georeferencing of the resulting surface models was performed with the manual identification of fourteen control points. In order to express the positional accuracy of the generated 3D surface models, the NSSDA guidelines were applied. Simultaneously acquired terrestrial laser scanning data – which had been processed in our standard workflow – was used to independently check the results. The vertical accuracy of the surface models generated by SfM was found to be within 0.04 m at the 95 % confidence interval, whereas several visual assessments proved a very high horizontal positional accuracy as well.

This fully illustrated 23 page paper traces the history of photography and our understanding of light from prehistoric times to the present day and also speculates about the future. From Aristotle to Einstein the camera is much older than most realize. Because photography can record fine detail and freeze a moment of the past, it has also transformed our modern understanding of time and also provided a record of the past which was previously unavailable.

Among the most difficult aspects of building visual literacy is cre- ating awareness of manipulation, a task made continuously harder by the prevalence of ‘Photoshopped’ or digitally altered photos through fake news or our everyday usage of photo edit- ing apps. So how are educators to build awareness of visual liter- acy when manipulation has become ubiquitous? I argue that understanding the credibility of visual content must go beyond viewing the image as identifying whether a photo has or has not been manipulated. Instead, it requires a technical comprehension of the process by which images are created, allowing educators to discern between visual lies and everyday image editing. To this end, I position Photoshop as a teaching tool, one that offers edu- cators and students a backstage view at the mechanisms of image alteration technology. In building a technical and rhetorical understanding of three key Photoshop tools—airbrush, layers, and filters—I outline a guide for using these tools grounded in critical considerations of how their use affects visual meaning. From this understanding, educators can move beyond blanket criticism of visual manipulation and into the ethical nuances of photo editing that distinguish meme from misinformation.

La presente comunicación presenta una investigación finalizada en torno a la reconceptualización y análisis de la imagen fotográfica en el contexto de la migración digital, titulada Tendencias y usos de la fotografía digital en la era del espectáculo. Algunos teóricos de la imagen y de la llamada "cultura visual contemporánea", como William Mitchell (1992), Nicholas Mirzoeff (2003), Hans Belting (2007) o Fred Ritchin (2009), hablan abiertamente de "la muerte de la fotografía" como consecuencia de la aparición de la fotografía digital que, de este modo, es entendida como un acontecimiento que ha transmutado la naturaleza misma del medio fotográfico, de tal manera que la fotografía se habría diluido en el universo de la imagen digital. Tras justificar el interés de la temática abordada, los objetivos y la hipótesis de la investigación, se exponen las principales conclusiones sobre el debate teórico en torno a la naturaleza de la fotografía en el nuevo contexto digital. A continuación, se presenta un trabajo de campo que ha consistido en la realización de entrevistas a profesionales de la fotografía (18 en total) y a teóricos e historiadores de la fotografía (14), cuyas respuestas han sido comparadas y contrapuestas, así como los resultados de una encuesta realizada a 467 estudiantes de primer curso de ciencias de la comunicación de diversas universidades españolas. Finalmente, se exponen las conclusiones del análisis de un corpus amplio de imágenes fotográficas en los contextos de la fotografía informativa y social, de la fotografía publicitaria y de la fotografía artística, con el fin de determinar las principales estrategias enunciativas que contienen las representaciones fotográficas digitales. En definitiva, nuestro objetivo ha sido contribuir a una clarificación del estatuto de la fotografía en el contexto de cultura visual contemporánea. 1.Planteamiento de la investigación: justificación e interés de la temática tratada. El medio fotográfico ha conocido una profunda transformación en los últimos quince años, como consecuencia de la introducción de las tecnologías digitales en el campo de la fotografía. En efecto, a finales de los ochenta y principios de los noventa del pasado siglo, las tecnologías digitales hicieron su 1 El presente estudio ha sido realizado con la ayuda del Proyecto de Investigación "Nuevas Tendencias e hibridaciones de los discursos audiovisuales contemporáneos", financiado por la convocatoria del Plan Nacional de I+D+i del Ministerio de Ciencia e Innovación, para el periodo 2008-2011, con código CSO2008-00606/SOCI, y del Proyecto de Investigación "Tendencias actuales en la producción y realización de informativos para televisión: entre el espectáculo, el entretenimiento y la información", financiado por la convocatoria de la Universitat Jaume I y Bancaja, para el periodo 2007-2010, con código 07I430-P1 1B2007-26, ambos bajo la dirección del Dr. Javier Marzal Felici.

From ubiquitous surveillance to drone strikes that put “warheads onto foreheads,” we live in a world of globalized, individualized targeting. The perils are great. In The Eye of War, Antoine Bousquet provides both a sweeping historical overview of military perception technologies and a disquieting lens on a world that is, increasingly, one in which anything or anyone that can be perceived can be destroyed—in which to see is to destroy.

Arguing that modern-day global targeting is dissolving the conventionally bounded spaces of armed conflict, Bousquet shows that over several centuries, a logistical order of militarized perception has come into ascendancy, bringing perception and annihilation into ever-closer alignment. The efforts deployed to evade this deadly visibility have correspondingly intensified, yielding practices of radical concealment that presage a wholesale disappearance of the customary space of the battlefield. Beginning with the Renaissance’s fateful discovery of linear perspective, The Eye of War discloses the entanglement of the sciences and techniques of perception, representation, and localization in the modern era amid the perpetual quest for military superiority. In a survey that ranges from the telescope, aerial photograph, and gridded map to radar, digital imaging, and the geographic information system, Bousquet shows how successive technological systems have profoundly shaped the history of warfare and the experience of soldiering.

A work of grand historical sweep and remarkable analytical power, The Eye of War explores the implications of militarized perception for the character of war in the twenty-first century and the place of human subjects within its increasingly technical armature.

Photographic reproductions have made images of art, rather than actual works of art, the primary means of art consumption. This paper considers photography as a tool for official and personal memory through the specific genre of the art reproduction, drawing from established theories of photography including seminal works by Susan Sontag, Walter Benjamin, Roland Barthes, and John Berger, as well as recent and contemporary sources that consider current technologies and the effects of social media and digital photography. The concept of tourism provides an important focus for this discussion because the tourist is so deeply associated with the camera, which can provide a method of structuring experiences in foreign environments and also produces images that memorialize, and come to define, experience. The tourist is also connected to the commercialism of art museums, which increasingly operate as tourist sights with cafés, shops, and complex digital platforms. These are popular strategies for increasing visitor numbers and revenue, and such programs are rationalized as strategies for appealing to new audiences and for welcoming the “uninitiated” lay public to the elite space of the art museum. These strategies, however, appease rather than appeal, and may ultimately limit possibilities for deep engagement across the varied museum public. Museums may be necessitated to play the game of commercialism for fiscal viability, but this should not delimit the visitor experience, which should include the direct experience of material works of art.

Current one-shot, handheld Digital Still Cameras (DSCs) generally offer different file formats to save the captured frames: Joint Photographic Experts Group (JPEG), RAW and/or Tag(ged) Image File Format (TIFF). Although the JPEG file format is the most commonly used file format worldwide, it is incapable of storing all original data, something that also occurs, to a certain extent, for large TIFF files. Therefore, most professional photographers prefer shooting RAW files, often described as the digital photography’s equivalent of a film negative. As a RAW file contains the absolute maximum amount of information and original data generated by the sensor, it is the only scientifically justifiable file format. In addition, its tremendous flexibility in both processing and postprocessing also makes it beneficial from a workflow and image quality point of view. On the other hand, large file sizes, the required software and proprietary file formats remain hurdles that are often too difficult to overcome for many photographers. Aerial photographers who shoot with handheld DSCs should be familiar with both RAW and other file formats, as their implications cannot be neglected. By outlining the complete process from photon capture to the generation of pixel values, additionally illustrated by real-world examples, the advantages and particularities of RAW aerial photography should become clear.

Twenty-two years since the arrival of the first consumer digital camera, Western culture is now characterized by ubiquitous photography. The disappearance of the camera inside the
mobile phone has ensured that even the most banal moments of the day can become a point of photographic reverie, potentially shared instantly. Supported by the increased affordability of computers, digital storage and access to broadband, consumers are provided with new opportunities for the capture and transmission of images, particularly online where snapshot photography is being transformed from an individual to a communal activity. As the digital image proliferates online and becomes increasingly delivered via networks, numerous practices emerge surrounding the image’s transmission, encoding, ordering and reception.
Informing these practices is a growing cultural shift towards a conception of the Internet as a platform for sharing and collaboration, supported by a mosaic of technologies termed Web 2.0. In this article we attempt to delineate the field of snapshot photography as this practice shifts from primarily being a print-oriented to a transmission-oriented, screen-based
experience. We observe how the alignment of the snapshot with the Internet results in the emergence of new photographies in which the photographic image interacts with established and experimental media forms – raising questions about the ways in which digital photography is framed institutionally and theoretically.

Es soll im Folgenden ein Überblick über verschiedene technologische Entwicklungen gegeben werden, die schließlich in dem gipfeln, was man heute "Digitale Fotografie" nennt. Aus dieser Geschichte lassen sich bestimmte lmplikationen eibleiten, die die geradezu unaufhörliche Diskussion über den (vermeintlichen) Realitä. tsverlust im "postfotografischen Zeit~lter" [1] zumindest relativieren können. '

This paper reviews the methods and technologies for congestion pricing of roads. Congestion tolls can be implemented at scales ranging from individual lanes on single links to national road networks. Tolls can be differentiated by time of day, road type and vehicle characteristics, and even set in real time according to current traffic conditions. Conventional toll booths have largely given way to electronic toll collection technologies. The main technology categories are roadside-only systems employing digital photography, tag & beacon systems that use short-range microwave technology, and in-vehicle-only systems based on either satellite or cellular network communications. The best technology choice depends on the application. The rate at which congestion pricing is implemented, and its ultimate scope, will depend on what technology is used and on what other functions and services it can perform.

The productivity of lettuce in a combination of high light, high temperature, and elevated CO2 has not been commonly studied because rapid growth usually causes a calcium defi ciency in meristems called tipburn, which greatly reduces quality and marketability. We eliminated tipburn by blowing air directly onto the meristem, which allowed us to increase the photosynthetic photon fl ux (PPF)

Resumen: La fotografía ha sufrido un gran cambio debido principalmente a la instauración de la cultura digital; aunque dicha transformación no es del todo radical, sí propone inéditas formas de asumir el medio, pues éste se entremezcla con otros en ambientes hipermediales. De ahí que sea relevante empezar a contemplar otras maneras de analizar lo fotográfico, que vayan más allá de lo visual. Por esta razón, se hace necesario hacer una revisión y comparación de diversas investigaciones que hayan estudiado la fotografía, contemplado sus prácticas y usos sociales a lo largo de su historia, contribuyendo así a asumirla no solamente como una imagen sino como un hecho social, lo que facilitará su estudio en la contemporaneidad.

Nos proponemos presentar en las siguientes páginas algunas reflexiones sobre la incidencia de la tecnología digital en el campo de la fotografía, en concreto en el contexto de la creación artística. En primer lugar, se articula una breve revisión de las principales dificultades que plantea la acotación de un territorio creativo como el de la "fotografía artística". A continuación se propone un recorrido, necesariamente parcial y subjetivo, a través de la obra fotográfica de diferentes creadores contemporáneos, con el fin de determinar algunos rasgos característicos de la creación digital en el mundo del arte fotográfico. El propósito de este trabajo es subrayar cómo la transformación digital de la fotografía ha multiplicado sus posibilidades expresivas y narrativas, y ha convertido al medio fotográfico en un campo fértil, no sólo para la creación artística, sino sobre todo para la reflexión en torno a la naturaleza de la imagen y de la cultura visual contemporánea.

ABSTRACT: Besides the identification, a photographic record is necessary for the reliable documentation of coins. This includes the photography of the coins and the editing of the images to remove the background. This short text describes how this work can be carried out with DigiCam Control, IrfanView, Gimp, ImageMagick and Bimp. In order to edit a large number of images in a short time, various batch methods are described (translated by Claire Franklin).

ZUSAMMENFASSUNG: Zu einer fundierten Dokumentation von Münzen gehört, neben der Bestimmung, ihre fotografische Erfassung. Hierzu zählen das Fotografieren der Münzen und die nachfolgende Freistellung der Münzbilder vom Hintergrund. In dieser Schrift wird erklärt, wie diese Arbeiten mit DigiCam Control, IrfanView, Gimp, ImageMagick sowie Bimp durchgeführt werden können. Um große Mengen von Bildern in kurzer Zeit bearbeiten zu können, sind verschiedene Wege der Stapelverarbeitung beschrieben.

RÉSUMÉ: Outre l'identification, un enregistrement photographique est nécessaire pour une documentation fiable des pièces. Cela comprend la photographie des pièces et l'édition des images pour supprimer l'arrière-plan. Ce court texte décrit comment ce travail peut être effectué avec DigiCam Control, IrfanView, Gimp, ImageMagick et Bimp. Afin d'éditer un grand nombre d'images en peu de temps, différentes méthodes de traitement par lots sont décrites (traduit avec www.DeepL.com).

SOMMARIO: Oltre all'identificazione, per una documentazione affidabile delle monete è necessaria una documentazione fotografica. Questo include la fotografia dei pezzi e la modifica delle immagini per rimuovere lo sfondo. Questo breve testo descrive come questo lavoro può essere svolto con DigiCam Control, IrfanView, Gimp, ImageMagick e Bimp. Per modificare un gran numero di immagini in un breve periodo di tempo, sono stati descritti vari metodi di elaborazione in batch (tradotto con www.DeepL.com).

Advances in 3D modeling technology, and the availability of inexpensive, easily-learnable processing software has enabled archaeological fieldwork to be carried out at a significantly higher resolution, with far greater accuracy than previously possible. Structure from Motion technology (SfM) is central to these developments, democratizing the ability to produce precise, photo-realistic, scalable models of the world and everything in it, using only standard photographs.

This guide will provide a brief technical explanation of the underlying technology, but will primarily act as a practical field guide that can be used to quickly acquire the skills necessary to produce georeferenced, millimeter accurate 3D models in the field on an archaeological excavation.

The instructions that follow are based on the JVRP Method, a field methodology developed over years of experimentation on Jezreel Valley Regional Project excavations. It will quickly become apparent however, that whatever terminology and project-specific conventions one may be accustomed to will have little bearing on the applications and benefits of these methods. The workflow that follows has been developed in the field and extensively tested on active excavations, so various examples from JVRP projects will be used throughout to illustrate the process itself, as well to demonstrate the archival, publication-quality products that it enables.

This paper reports in detail on the image-based modelling and unwrapping approach used to create a two-dimensional projected map of an astonishing ostrich egg globe from AD 1504. This miniature egg globe is not only the oldest extant engraved globe, but it is also the oldest post-Columbian globe of the world and the first ever to depict Newfoundland and many other territories. The intention of digitally recording the surface geometry and colour of this unique artefact was to portray the original layout of the world map used by the Florentine Renaissance artist to make this globe. In addition, it was expected to substantiate iconographical details, which are hard to study at its scale of 1:80,000,000. The ostrich egg globe is the prototype of the Lenox Globe kept at the New York Public Library. The latter is very beneficial to examine how the egg globe looked like before being glued together at its equator. On the other hand, unfolding the map engraved in the ostrich egg halves enables a more detailed study of the remarkable details visible on both globes, since the engravings on the quasi-white egg surface are much easier to discern than those of the highly reflective red copper Lenox Globe. Finally, a detailed study of the unwrapped 3D surface is essential to learn more about the world vision of its creator and the incredible efforts that went into making this globe. Thanks to some particular pictographic details as well as the way in which the engravings are applied (by a left-handed person), the globe artist can be identified as Leonardo da Vinci.

The «information revolution» has brought radical transformations in the ways we create consume and regard visual media. The possibility of simulating photographic images through software and computational devices has called into question the ontological condition of Photography and its integrity as a distinct medium. Some voices argue that, through digitisation, photographic images lose their indexical quality and thus fail to function as reliable documents. Given that realism is no longer seen as an inescapable characteristic of Photography, but as an «effect» achieved through data manipulation, some people argue humanity might be threatened by a «loss of historicity». In the following pages I challenge some of these notions by arguing photographic images should be conceived as visualisations. By showing that analogue and digital photographs achieve similar representations of the world, but through fundamentally different processes, I argue they should not be approached with the same conceptual toolbox. Moreover, I argue the uneasiness concerning the future of the photographic medium is a symptom of the inadequacies of our current analytical tools to deal with digital objects. From here it follows the need to acquire a new «literacy» capable of dealing with them.

Given the global ubiquity of the phenomenon of the selfie and the rise of the GoPro action camera, this paper argues that in today’s social conditions of high-modernity the selfie offers a way of bridging the ‘hinge between digital and physical modes of existence’ (Rubenstein & Fisher, 2013, p.13). Although perceived as more ‘intuitive and fun’ than simply texting (Lobinger & Brantner, 2015, p.1857), its material and social practice, however, does not stay unproblematic, but complex and with ambiguities itself. This paper’s discourse is embedded within a narrative and phenomenological theoretical accounts of identity and selfhood focused on the centrality of the human body such as those of Ricoeur (1992), Goffman (1959), Shilling (2005) and Heidegger (1953). The discussion further explores contemporary understandings of digital media, the role of the photographer and his/ her body beyond representation including accounts by Baudrillard (1994), Rubenstein & Fisher (2013) and recent scholarly appropriations on the phenomenon of the selfie published within the 2015 Featured issue (9) of the ‘International Journal of Communication’. Investigating into the lived experiences in the case of surf selfies with the GoPro action camera, it is then argued that the act of taking and sharing photographic records of one’s own body offers authenticity of one’s digital mode of existence but stands in conflict with one’s physical way of being with regards to perceived authenticity of others and one’s own experience of self. This study’s results illustrate the problematic relationship between on and offline identities, which are conclusively argued to be rooted within continuing fluctuating concepts of self between ‘the self as an image and as a body, as a constructed effect of representation and as an object and agent of representation’ (Frosh, p.1621).

Zipai, literally ‘self-shot’, is the Chinese word for ‘selfie’, and it indicates both the action and the product of taking a picture of oneself. This paper presents an account of the “ways of working” through which the authors – a media anthropologist and a performance artist – negotiated a collaborative approach to zipai. The essay begins with a discussion of contemporary practices of self-representation on Chinese digital media, arguing that the zipai uploaded by Chinese users on online platforms can be understood as locational and relational self-portraits, a media-specific genre of vernacular photography. It then proceeds to consider the ethical implications of appropriating vernacular photography for artistic and ethnographic representation, proposing to adapt the practice of filtering as an ethical intervention. After an overview of contemporary works by Chinese artists and photographers engaging with the aesthetics of zipai, the essay concludes with a reflection on the possibilities of collaboration between art practice and media anthropology.

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Drawing on a wide corpus of ethnographic research projects, including on photography practices, young filmmakers and writers, and current research with young unemployed people, we argue that contemporary understandings of selfies either in relation to a “documenting of the self” or as a neoliberal (narcissistic) identity affirmation are inherently problematic. Instead, we argue that selfies should be understood as a wider social, cultural, and media phenomenon that understands the selfie as far more than a representational image. This, in turn, necessarily redirects us away from the object “itself,” and in so doing seeks to understand selfies as a socio-technical phenomenon that momentarily and tentatively holds together a number of different elements of mediated digital communication.

An important problem for technology design is predicting users and uses for emerging technologies—doing user- centered design for users and uses that don't yet exist. The primary contribution of this paper is in presenting a method for anticipating future uses of new technology by looking at users' higher-order motives or activities for current and emerging technology. We identify three high-order