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研究論文, Original article, 〔目的〕本研究の目的は，0.5 度刻みで設定した被写体に対し，学生が検査者となった場合，デジタル画像解析による角度測定の精度を検証することである．〔対象と方法〕検査者は大学生10 名とした．デジタルカメラで撮影した被写体は，89.0 度，89.5 度，90.0 度，90.5 度，91.0 度の5 条件を設定したモデルとした．得られたデジタル画像に対し，各条件で3 回の角度測定を行った．〔結果〕すべての検査者において，測定値は，いずれの設定条件でも設定角度の大きい条件は小さい条件より大きかった．また，各条件間で有意な差を認めた．絶対誤差は，平均0.16 ± 0.05 度であった．級内相関係数ICC（1，3）は0.981-0.987 であった．〔結語〕この研究では，デジタル画像解析が，大学生が測定しても，小さな変化を検出できる精度をもっていることが示唆された．, [Purpose] The purpose of this study is to verify the accuracy of angle measurement by digital image analysis for subjects set at 0.5-degree increments.[Methods] The examiners were 10 university students. The subjects were photographed with a digital camera, and the model was set to five conditions: 89.0, 89.5, 90.0, 90.5, and 91.0 degrees. The examiner performed angle measurements in each condition using the digital images obtained.[Results] In all examiners, measurements were greater for the larger set angle condition than for the smaller set angle condition for all conditions. In addition, measurements were significantly different between conditions. Absolute errors averaged 0.16 ± 0.05 degrees. The intraclass correlation coefficient ICC (1, 3) was 0.981-0.987.[Conclusion] This study suggests that digital image analysis has the accuracy to detect small changes even when measured by university students.

Plot-level photography is an attractive time-saving alternative to field measurements for vegetation monitoring. However, widespread adoption of this technique relies on efficient workflows for post-processing images and the accuracy of the resulting products. Here, we estimated relative vegetation cover using both traditional field sampling methods (point frame) and semi-automated classification of photographs (plot-level photography) across thirty 1 m2 plots near Utqiaġvik, Alaska, from 2012 to 2021. Geographic object-based image analysis (GEOBIA) was applied to generate objects based on the three spectral bands (red, green, and blue) of the images. Five machine learning algorithms were then applied to classify the objects into vegetation groups, and random forest performed best (60.5% overall accuracy). Objects were reliably classified into the following classes: bryophytes, forbs, graminoids, litter, shadows, and standing dead. Deciduous shrubs and lichens were not reliably classified. Multinomial regression models were used to gauge if the cover estimates from plot-level photography could accurately predict the cover estimates from the point frame across space or time. Plot-level photography yielded useful estimates of vegetation cover for graminoids. However, the predictive performance varied both by vegetation class and whether it was being used to predict cover in new locations or change over time in previously sampled plots. These results suggest that plot-level photography may maximize the efficient use of time, funding, and available technology to monitor vegetation cover in the Arctic, but the accuracy of current semi-automated image analysis is not sufficient to detect small changes in cover.

V magistrskem delu je bila podrobno predstavljena primerjava pristopov k digitalnemu fotografiranju in virtualnemu fotografiranju ter izvedeno testiranje digitalnega fotografiranja in virtualnega fotografiranja v računalniških igrah. Namen raziskave je bila določitev pristopov izdelave virtualne fotografije v računalniških igrah in pristopov izdelave digitalne fotografije, v povezavi z različnimi teoretičnimi predznanji. Cilji so bili primerjati načine izdelave digitalne in virtualne fotografije, zajem virtualnih fotografij s pomočjo testirancev, zajem digitalnih fotografij s pomočjo testirancev, določitev potrebnega predznanja testirancev za zajem tehnično ustreznih virtualnih in digitalnih fotografij, primerjava sistemov za zajem digitalnih fotografij in virtualnih fotografij v računalniških igrah in uspešnost posnemanja digitalne fotografije v virtualni fotografiji v računalniških igrah. Rezultat naj bi pripomogel k obogatenju raziskav na tem področju, ki jih je bilo ob začetku testiranja zelo malo. Za izvedbo testiranja sta bila uporabljena dva digitalna fotoaparata in računalniška igra The Witcher 3: Wild Hunt. Po dobljenih rezultatih sta bila izvedena anketa in intervju. Analiza vseh rezultatov je bila podrobno grafično predstavljena in ovrednotena. Rezultati so pokazali, da je predznanje teorije pomembnejše pri izvedbi digitalne fotografije, kjer nastavitve niso tako intuitivne. Ugotovitve so pokazale, da je virtualna fotografija tehnično še slabše razvita, prav tako pa ubira bistveno drugačen pristop do zajema fotografije. Vseeno je v hitrem razvoju in lahko v naslednjih letih v računalniških igrah pričakujemo veliko boljšo grafiko ter zgradbo fotografskih načinov kot tudi razvoj fotografije v tej smeri. The master thesis presented a detailed comparison of approaches to digital and virtual photography and tested digital and virtual photography in computer games. The aim of the research was to identify approaches to virtual photography in computer games and approaches to digital photography in relation to different theoretical backgrounds. The objectives were to compare digital and virtual photography production methods, capture virtual photographs using test subjects, capture digital photographs using test subjects, determine the necessary background of test subjects to capture technically appropriate virtual and digital photographs, compare digital photography and virtual photography capture systems in computer games and determine the success of emulation of digital photography in virtual photography in computer games. The result should help to enrich research in this field, which was, at the time when the testing has begun, very scarce. Two digital cameras and the computer game The Witcher 3: Wild Hunt were used for the testing. After the results were obtained, a survey and an interview were conducted. The analysis of all the results was presented and evaluated in graphical detail. The results showed that knowledge of the theory is more important in digital photography, where the settings are not so intuitive. The findings showed that virtual photography is still less technically developed and takes a fundamentally different approach to capturing a photograph. However, it is rapidly evolving and we can expect much better graphics and photo modes in computer games in the next few years, as well as the development of photography in this direction.

[EN] Ocean color is the result of absorption and scattering, as light interacts with the water and the optically active constituents. The measurement of ocean color changes enables monitoring of these constituents (dissolved or particulate materials). The main objective of this research is to use digital images to estimate the light attenuation coefficient (Kd ), the Secchi disk depth (ZSD ), and the chlorophyll a (Chla) concentration and to optically classify plots of seawater using the criteria proposed by Jerlov and Forel using digital images captured at the ocean surface. The database used in this study was obtained from seven oceanographic cruises performed in oceanic and coastal areas. Three approaches were developed for each parameter: a general approach that can be applied under any optical condition, one for oceanic conditions, and another for coastal conditions. The results of the coastal approach showed higher correlations between the modeled and validation data, with rp values of 0.80 for Kd , 0.90 for ZSD , 0.85 for Chla, 0.73 for Jerlov, and 0.95 for Forel¿Ule. The oceanic approach failed to detect significant changes in a digital photograph. The most precise results were obtained when images were captured at 45° (n = 22; Fr cal=11.02>Fr crit=5.99 ). Therefore, to ensure precise results, the angle of photography is key. This methodology can be used in citizen science programs to estimate ZSD, Kd, and the Jerlov scale., The authors wish to thank Consejo Nacional de Ciencia y Tecnología (CONACyT) for the grant awarded to the first author for her studies. The authors also thank the SIMBIOS NASA Program, Universidad Autónoma de Baja California, Instituto de Investigaciones Oceanológicas, Centro de Investigación Científica y de Educación Superior de Ensenada, Secretaría de Marina Armada de México, Dirección General Adjunta de Oceanografía, Hidrografía y Meteorología, Instituto Politécnico Nacional. Maria Elena Sánchez-Salazar translated the manuscript into English.

[ES] Trabajo de producción artística centrado en la fotografía experimental cuyo objetivo fundamental es recurrir a las creaciones de la naturaleza (Natura naturata), y más concretamente a las que son objeto de estudio de la Botánica, para generar estímulos visuales que despierten en la sociedad aprecio y valoración del medio natural como único camino al desarrollo sostenible, lo que lleva a proponer el concepto de Ecocriticismo visual. A un sucinto repaso de algunos referentes fundamentales, sigue un recorrido histórico-técnico centrado en los medios de la fotografía analógica que sirven de base para la posterior experimentación e hibridación de las diferentes técnicas que se utilizan. Se abordan con más detalle los cianotipos, los platino-paladiotipos, los argirotipos y las técnicas al colodión húmedo. Así mismo se tratan extensivamente los procesos experimentales derivados de la fotografía instantánea tipo Polaroid y otros procesos como los luminogramas. Se explican detalladamente los procesos desde una perspectiva eminentemente práctica que incluye un formulario, aunque sin eludir los necesarios aspectos fisico-químicos teóricos, incorporando aportaciones novedosas entre las que destacan: transportes en gran formato de gelatinas sensibilizadas con cianotipia o argirotipia a diferentes soportes y el desarrollo de los novedosos arqiro-opalotipos y argiro-orotonos. También se pone a punto un método para conseguir manualmente imágenes en color utilizan- do argirotipias y platinotipias combinadas con la transferencia de pigmentos mediante tórculo y disolvente. Las más de 500 obras únicas y de factura manual realizadas aplicando las técnicas mencionadas se estructuran en 15 proyectos y eventualmente series que se ordenan en base a una concepción ecocrítica centrada en aspectos lúdico-contemplativos o de denuncia en relación con la obtención de energías limpias, cambio climático y perdida de biodiversidad. Todo ello constituye la base conceptual y material para la realización de más de 60 actividades: exposiciones (individuales y colectivas), publicación de catálogos y trabajos científicos y colaboraciones con la empresa privada para la creación de etiquetas comerciales basadas en dichas obras. Como anexo online < http://gerardostubing.com/botanikacatalogo/ >, se incorpora un catálogo exhaustivo de todas las obras realizadas en el contexto de este trabajo de tesis doctoral incluyendo ilustraciones y fichas técnicas., [CA] Treball de producció artística centrat en la fotografia experimental que té com a objectiu fonamental recórrer a les creacions de la natura (Natura naturata), i més concretament a les que són objecte d'estudi de la Botànica, per generar estímuls visuals que desper- tin a la societat estima i valoració del medi natural com a únic camí al desenvolupament sostenible, fet que porta a proposarel concepte d'ecocriticisme visual. Després d'un succint repàs a alguns referents fonamentals, segueix un recorregut historico-tècnic centrat en els mitjans de la fotografia analògica que serveixen de base per a la posterior experimentació i hibridació de les diferents tècniques que s'utilitzen. S'aborden amb més detall els cianotipus, els platí-paladiotipus, els argirotipus i tec- niques al colodion humit. Així mateix, es tracten extensivament els processos experi- mentals derivats de la fotografia instantània tipus Polaroid i altres processos com els luminogrames. S'expliquen detalladament els processos des d'una perspectiva eminentment pràctica que inclou un formulari, encara que sense eludir els necessaris aspectes fisicoquímics teòrics, incorporant aportacions noves entre les quals destaquen: transports en gran format de gelatines sensibilitzades amb cianotípia o argirotípia a diferents suports i el desenvolupament dels nous arqiro-opalotips i argiro-orotons. També es posa a punt un mètode per aconseguir manualment imatges en color utilitzant argirotípies i plati- notípies combinades amb la transferència de pigments mitjançant tòrcul i dissolvent. Les més de 500 obres úniques i de factura manual realitzades aplicant les tècniques esmentades s'estructuren en projectes i eventualment sèries que s'ordenen en base a una concepció ecocrítica centrada en aspectes ludico-contemplatius o de denúncia en relació amb l'obtenció d'energies netes, canvi climàtic i pèrdua de biodiversitat. Tot això constitueix la base conceptual i material per a la realització de més de 60 activi- tats: diverses exposicions (individuals i col·lectives, publicació de catàlegs i treballs científics i una col·laboració amb l'empresa privada per a la creació d'etiquetes comer- cials basades en aquestes obres. Com a annex online < http://gerardostubing.com/botanikacatalogo/ > sincorpora un catàleg exhaustiu de totes les obres realitzades en el context daquest treball de tesi doctoral incloent il·lustracions i fitxes tècniques., [EN] Artistic production work focused on experimental photography whose main objective is to resort to the creations of nature (Natura naturata), and more specifically to those that are the object of study of Botany, to generate visual stimuli that awaken in society appreciation and appreciation of the natural environment as the only path to sustaina- ble development, which leads to proposing, as a novelty, the concept of Visual eco-criticism. After a brief review of some fundamental references, a historical-technical journey follows focused on the means of analog photography that serve as the basis for subsequent experimentation and hybridization of the different techniques used. Cyanotypes, platinum-palladiotypes, argyrotypes and wet plate collodion techniques are covered in more detail. Likewise, the experimental processes derived from Polaroid-type instant photography and other processes such as luminograms are extensively treated. The processes are explained in detail from an eminently practical perspective that includes a formulary, although without eluding the necessary theoretical physical and chemical aspects, incorporating novel contributions, among which the following stand out: transport in large format of sensitized gelatins with cyanotype or argyrotype to different supports and the development of the novel arqyro-opalotypes and argyro-orotones. A method for manually obtaining color images using argyrotypes and platinotypes combined with the transfer of pigments by means of a press and solvent is also perfected. The more than 500 unique and manual works carried out applying the aforementioned techniques are structured in projects and eventually series that are ordered based on an ecocritical conception focused on ludic-contemplative aspects or denunciation in relation to obtaining clean energ, climate change and loss of biodiversity. All this cons- titutes the conceptual and material basis for the realization of more than 60 activities : exhibitions (individual and collective), publication of catalogs and scientific works and a collaboration with private companies for the creation of commercial labels based on said works. An exhaustive online catalog < http://gerardostubing.com/botanikacatalogo/ > of all the works carried out in the context of this doctoral thesis is incorporated as an annex, including illustrations and technical sheets.

We propose an end-to-end model for high-resolution photographic enhancement in a self-supervised learning approach. Bad quality photos are created from an unlabelled dataset of good quality images. Our deep network model is presented with pairs of bad and good images, and learns the parameters of 6 photographic filters that improve the bad photos by trying to make them similar to the high-quality references. Custom rendering layers apply the photographic filters and compute their derivatives during the forward training pass, so loss attribution can be performed during the backward pass. Our experiments confirm that loss functions based on feature-extraction networks achieve better quality than pixel-comparison metrics. To mimic professional editing applications, our filters are based on curve mapping and alpha blending, and they are rendered using a linear RGB colorspace for mathematical accuracy. At inference time, the custom rendering layers are removed so the model’s output is just the set of filter parameters that best improve the input image. We achieve high-resolution results by applying the predicted filters to the photo captured by the user, even though training and prediction take place using downscaled thumbnails. Our approach has been validated in a professional mobile application.

PURPOSE To determine the margin reflex distance (MRD) in healthy subjects using autorefractometer front monitor images (ARFMI) and validate the accuracy of this method by comparing it with conventional methods. METHODS One hundred eyes of 50 healthy subjects aged 20-59 years were included in the study. Autorefractometer front monitor images were video-recorded using a smartphone camera, and screenshots were taken to analyze the MRD. The results were compared with those from conventional methods to determine the reliability of the method. To evaluate the repeatability and reproducibility of all measurement methods, we performed two different visits by two observers. RESULTS The mean MRD-1 of the autorefractometer image measurement was 4.29 ± 0.90 mm, mean MRD-1 of the of the digital photography image measurement was 3.78 ± 1.03 mm, and mean MRD-1 of the manual measurement was 4.02 ± 1.09 mm. The mean difference (MD) of MRD-1 was analyzed and it was found that MD of the autorefractometer image was significantly higher than the MD of other groups (p

Hungary stands at a pivotal point in establishing its role as a global leader in the modern approach to historical photo archiving. Born from the effort of two friends to save discarded family photographs from dumpsters and trash bags on the streets of Budapest, the Fortepan archive (fortepan.hu), now with over 150,000 donated images, has become a cultural institution within Hungary as well as a disruptive force to the archival paradigm in both content and accessibility. Fortepan has rejected traditional archival practices such as exclusivity, restriction, and regulation in favor of openness, crowdsourcing, free public downloading and use, and a new web-based structure which releases images from the limitations of historical provenance and original order. Donated images are scanned at high resolution, curated, and organized by date on a timeline that invites users to immerse themselves in the curious, poetic, and mundane moments of everyday life. Acting as a collective “family album” for Hungary, Fortepan places the public at the forefront of archival practice by inviting them to contribute to their recorded history and public memory as donors, volunteers, taggers, historians, and citizen archivists.

Problems that arise during the processing of the acquired photo are analyzed in this paper. Different software packages were used to process digital photos in several formats. The required dimensional accuracy of the product in mechanical engineering is within the range of a few microns to 100 microns. The pixel size of the acquired product is calculated depending on the specifications of the camera sensor and the ratio in which the product occupies the surface of the photograph. By satisfying the stated condition, before determining the dimensional accuracy of the product, it is necessary to process the photograph and prepare the variables used in determining the accuracy of the product. The most commonly used software tools in image processing require binary photography, and its conversion into the binary form is required first. Conversion problems, and their proper solution, are key to successfully determining dimensional accuracy. Removing smudges on binary photos and rotating displays for photo overlap methods are problems that are solved in the paper. In some software packages, there is a problem connecting functions from different libraries. Proper resolution of these problems is an essential prerequisite for the preparation of variables to determine the accuracy of the product. The knowledge gained in this paper will help scientists and facilitate their software preparation and processing of photographs used to determine the dimensional accuracy of the product.

Pojam „fotografija“ ima različita značenja, a ono koje se prirodno nameće jest fotografija kao medija za prenošenje određenih poruka koje ne moraju imati identično značenje za sve one koji su u sam njen kontekst uključeni. Fotografija predstavlja i svojevrsnu mrežu značenja, dok reprezentacija i naracija pridonose razumijevanju konteksta koji se krije unutar fotografije, a koji nije očit iz prizora koji je na njoj zabilježen. Fotografije same po sebi sadrže i integrativni moment ujedinjenja obitelji, odnosno pridonose povezivanju obitelji, ali i stvaranju određenog zajedničkoga sjećanja spajajući prošlost i sadašnjost. U ovom će se diplomskom radu analizom odabranih fotografija utvrditi postoje li razlike u događajima, stvarima i mjestima koja se fotografiraju te odrediti na koji se način njihovo značenje oblikuje, s posebnim naglaskom na najzastupljenije teme i njihovoj povezanosti s obiteljskim životom. The term “photograph” has different meanings, but one that naturally imposes is photograph as a medium for conveying certain messages that do not necessarily have identical meanings for everyone involved in its context. The network of meanings that a photograph, in a way, represents can be understood better if its context, which might not be obvious from the scene recorded on the photograph itself, is represented or narrated. In their own right, photographs also contain an integrative moment of family unification, that is, they contribute to family bonding as well as to the creation of a certain collective memory by connecting the past and the present. In this master thesis, through the analysis of selected photos, it will be determined whether there are differences in the events, things and places that are photographed and how their meaning is formed, with special emphasis on the most represented topics and their connection with family life.

UNESCO’s 2011 recommendation on Historic Urban Landscapes (HUL) advocated for an integrated, holistic approach to heritage places, in terms of how they are conceptualised and how they are recorded and managed in practical terms. Digital technologies offer increased capacity for recording places of all kinds, especially in terms of the physical environment and increasingly within heritage settings. Diverse case studies from China and India representing challenges in historic environments aim to test how a combination of the latest technologies and their current deployment better work toward goals within the HUL imperative. Further, we investigate where HUL approaches cannot be met by current technologies or analysis of digital data, providing a clear set of goals for future technologies or data interpretation that can work towards a more holistic capturing of place. This study analyses the interpretation of digital data in two different cultural settings between 2017 and 2018 – a historic water town in China and an informal settlement in India. Both cases employed digital technologies, including 3D laser scanning, photogrammetry, digital photography, video and audio recording to capture both the physical attributes of human settlements and how those places were used, reflecting residents’ values and cultural practices. Findings suggest that digital technologies are useful tools to illustrate layers of value beyond the built environment by connecting physical, social and cultural landscapes and associated place attachment. The combined use of various digital technologies helps to reveal interconnected place values and support better solutions for more sustainable and equitable development.

From innovations such as virtual fit through 3D body scanning, smart clothes, wearable technology and virtual styling assistants to more mundane capabilities such as digital photography and social media, deciding what to wear and how to wear an item is now accompanied by a range of new information and perspectives. This article examines the sociotechnical systems that support everyday decisions about what to wear, and how this decision-making process is being re-imagined in response to technology. Drawing upon closet ethnographies with women in the USA and Australia, we focus upon the ways in which women make decisions about what will help them to ‘look professional’. Specifically, we attend to two key dimensions of the decision-making process – visions and validations – to understand the ways in which women weigh the opinion of other people, media and technologies, and the real and imagined role of how new technologies such as the Amazon Echo Look may be integrated into this process. Through fine-grained analysis of the ways that women receive, reject or ignore information about their performance of looking professional, we reflect upon the relative importance of different technologies in the process of decision-making.

One of the first challenges that crime scene examiners have is determining if a substance is blood before performing analysis. Conventional methods of detecting blood involve the use of chemicals and different wavelengths of light in tandem with digital photography. However, these methods are destructive or provide false positives. Visible wavelength hyperspectral imaging (HSI) is a noncontact blood detection method that has been proven to provide accurate and reliable results. A novel application of this technique has been used for the detection and positive identification of bloodstained footwear marks, of different dilutions ranging from undiluted to 1:50 with distilled water, and on a range of substrates, and colors. Comparisons between HSI and conventional digital photography were made using a grading scale and analyzed using Mann-Whitney U-tests. The HSI technique was able to detect a statistically significant greater amount of tread detail on white tiles, laminate, carpet, and blue tiles compared with the digital photography technique, which was only superior on black tiles. Critically, the HSI technique was also able to determine that the footwear marks were made in blood. These results show that HSI will be useful in forensic investigations, where it is known that the perpetrator has walked through the victim's blood and left a trail of footwear marks at the crime scene. Even if the perpetrator had time to clean up afterward resulting in diluted stains, HSI would still be able to detect bloodstained footwear marks with a greater amount of detail compared with digital photography.

This study explores students’ photo story input into how to create a safe and sustainable educational environment. Digital photo stories were collected through classroom assignments at a secondary school in Sweden and the software Microsoft Sway. The students made use of photos and texts to describe what they regarded as safe and unsafe places and places that supported or impeded their learning. The results show variations both in the areas that the students viewed as safe and unsafe and the reasons for their choice of area. This means that one area can be depicted as safe or positive by one student, but unsafe or negative by another, which was also the case regarding learning.

Posljednjeg desetljeća svjedočimo transformaciji u načinu komunikacije. Proces transformacije još uvijek traje i svakim danom napreduje, a uključuje sveprisutni Internet, mobilne komunikacije i video komunikaciju. Kompresija podataka mogućnost je tehnologije za svaki od navedenih aspekata multimedijske revolucije. Bez kompresije podataka ne bi bilo praktično objavljivati slike, video ili audio format na web. Također kompresija podataka je zaslužna i za pojavu digitalne televizije kao i za jednostavnu komunikaciju preko mobilnih uređaja. Prijenos i pohranjivanje velike količine podataka predstavljaju ozbiljan problem. U digitalnim sustavima ograničen je broj bitova po uzorku i brzina prijenosa, a s druge strane brzina prijenosa ograničava broj podataka koji se mogu prenijeti u jedinici vremena. S obzirom na navedeno, za prijenos i pohranjivanje slike potrebno je izvršiti kompresiju. Po definiciji kompresija je proces smanjivanja potrebnog fizičkog prostora za pohranu podataka kroz korištenje određenih metoda za pohranjivanje podataka. Postoje dvije vrste kompresije: kompresija s gubitcima i kompresija bez gubitaka. Razvojem tehnologije razvila se i digitalna fotografija (slika) pa tako i različiti načini njenog pohranjivanja. Kako bi se slika pohranila na računalo koriste se razne metode pretvorbe slike u binarne brojeve zato se može reći da postoje različiti formati za zapis slike. Najpoznatiji formati za pohranu slike su: JPEG, PNG, GIF, TIFF, BMP a najviše korišteni su JPEG i GIF., In the last decade, we have witnessed a transformation in the way of communication. The process of transformation is still ongoing and advancing every day, and includes the ubiquitous Internet, mobile communications and video communications. Data compression is a technology possibility for each of the aforementioned aspects of the multimedia revolution. Without data compression, it would not be practical to publish images, video or audio format to the web. Data compression is also responsible for the emergence of digital television as well as for simple communication via mobile devices. Transferring and storing large amounts of data is a serious problem. In digital systems, the number of bits per sample and the transmission speed are limited, and on the other hand, the transmission speed limits the amount of data that can be transmitted in a unit of time. Considering the above, it is necessary to perform compression to transfer and store the image. By definition, compression is the process of reducing the required physical space for data storage through the use of certain data storage methods. There are two types of compression: lossy compression and lossless compression. With the development of technology, digital photography (image) has also developed, as well as different ways of storing it. In order to store the image on the computer, various methods of converting the image into binary numbers are used, so it can be said that there are different formats for recording the image. The most famous image storage formats are: JPEG, PNG, GIF, TIFF, BMP, and the most used are JPEG and GIF.

The objective is to identify and map the use of photography as a technique for collecting data in qualitative health research. This is a scoping review guided by the recommendations of the JBI Institute from 12 databases. We included articles and dissertations that made use of photography as a resource for data collection. The analysis of the data was by simple descriptive statistics.

This Training Itinerary to Improve ICT Competences was developed as part of DigitArt Project, co-financed by Erasmus+ KA2 - Cooperation for Innovation and the Exchange of Good Practices - Partnerships for Creativity, coordinated by Contextos (Faro, Portugal), in partnership with Lascò Srl (Caserta, Italy), and FRONTEiRAS - Asociación Cultural (Huelva, Spain). This document is the third of a total of four publications (Intellectual Outputs) that result from this project: IO1 – State of the Art - Creativity and Creative Learning Environments IO2 – Participatory Video - Methodological Guide for the Implementation of Innovative Strategies that Promote the Participation of Youth IO3 – Training Itinerary to Improve ICT Competences IO4 – Methodological Guide for the Development of Collaborative Projects for Youth The fifth and final output of the project, IO5 – Collaborative Documentary, tells the story of the DigitArt project in a video format. This third volume, IO3 – Training Itinerary to Improve ICT Competences, aims to provide a set of activities that youth workers can implement with young people to achieve the following objectives: improve digital and communicative skills among young people, critical reading skills, multimedia creation, contents productions, and meaningful use of Information and Communication Technologies; promote responsible participation and active citizenship through communication and collaboration., This publication has received funding from the European Commission under the Grant Agreement number 2020-1-PT02-KA227-YOU-007642, Erasmus+ KA2 - Cooperation for Innovation and the Exchange of Good Practices - Partnerships for Creativity project "DigitArt".

In this paper, a squeeze-and-decomposition network (SDNet) is proposed to realize multi-modal and digital photography image fusion in real time. Firstly, we generally transform multiple fusion problems into the extraction and reconstruction of gradient and intensity information, and design a universal form of loss function accordingly, which is composed of intensity term and gradient term. For the gradient term, we introduce an adaptive decision block to decide the optimization target of the gradient distribution according to the texture richness at the pixel scale, so as to guide the fused image to contain richer texture details. For the intensity term, we adjust the weight of each intensity loss term to change the proportion of intensity information from different images, so that it can be adapted to multiple image fusion tasks. Secondly, we introduce the idea of squeeze and decomposition into image fusion. Specifically, we consider not only the squeeze process from source images to the fused result, but also the decomposition process from the fused result to source images. Because the quality of decomposed images directly depends on the fused result, it can force the fused result to contain more scene details. Experimental results demonstrate the superiority of our method over the state-of-the-arts in terms of subjective visual effect and quantitative metrics in a variety of fusion tasks. Moreover, our method is much faster than the state-of-the-arts, which can deal with real-time fusion tasks.

This research focuses on using digital photography to record observations of young children. The observations discussed are young children engaging with music as a communicative language. Digital m...

The artist has searched for many artistic sources to find inspiration for his artistic works, which made him go from space to the depths of the sea and from visual elements directly to the elements that require modern devices for microscopic vision, and from here this search starts to explore the depths of part of these worlds that lie between the field The visual of the human being, which is perceived directly by an abstract sample and between worlds that need microscopic vision and complex devices to perceive these places and shapes. In between this and that there is another world that can be perceived through digital photography with simple cameras, and by enlarging these images, we will find another world full of artistic and aesthetic elements that nourish the artist and help him satisfy his artistic vision. Research background: Digital photography: “Digital photography is the process of using electronic and computer devices to capture, create, edit and share digital images. It includes many different technologies to provide electronic or computer imaging services. It is mainly used as a medium to create, publish or use digital images on computers or the Internet."(). visual field: “The visual field is the "spatial space of the visual sense that can be observed during an introspective psychological experiment." () Or simply, the visual field can be defined as "the entire area that can be seen when the eye is stationary at a point." (). The normal visual field in a person in one eye extends between 60 degrees in the nasal side (towards the nose, inward) to 107 degrees in the temporal side (away from the nose, towards the outside) relative to the vertical line of the eye, and about 70 degrees above the meridian. Horizontal and 80 degrees below it (binocular visions: What is meant here is to see things using modern tools that allow you to see the elements and microscopic objects that do not see directly with the eye, such as a microscope. A microscope is "a tool that can be used to observe small objects, even cells. The image of the body is magnified through at least one lens in the microscope. This lens bends the light towards the eye and makes the object appear larger than it is in reality." (). Research problem: What are the possibilities for inspiring design insights through research between direct eye vision and a binocular field of vision? Research hypotheses: There are innovative design visions and formative relationships that can be monitored through research between direct eye vision and the field of vision with a microscope. research aims: The research aims to find new approaches to monitor the plastic elements and design visions in the field of design. Research Methodology: The research relies on the descriptive, analytical and quasi-experimental approach. Findings and Recommendations: From the study, the research reached the following results: 1- It is possible to take advantage of the capabilities of digital photography because of the capabilities it provides in zooming in and focusing directly on unavailable places within the visual field. 2- Expanding resources for drafting decorative and design paintings through digital photography. 3- Emphasizing the role of technology in developing and deepening the design dimension in artistic works. 4- The design source can be found through the surrounding environment and in the midst of randomness by using simple and available technology. The research recommends the following 1- Interest in studying digital photography as an adjunct to design. 2- Activating the role and potential of digital technology as one of the designer's tools in the digital age. 3- Paying attention to the media and tools that allow the study of different and even random environments that fall outside the framework of direct perception as sources of the artist's creativity.

espanolEl medio fotografico se ha visto alterado por el proceso de digitalizacion, y, especialmente, por la popularizacion de smartphones dotados de camaras de alta calidad y el desarrollo en la Web 2.0 de plataformas de social media. Las practicas y significaciones que envuelven la fotografia digital parecen diferir de las propias de la cultura analogica. En este articulo, desde un enfoque exploratorio, se busca examinar las configuraciones que emergen alrededor de la fotografia digital, con especial atencion a sus usos y funciones sociales, en comparacion con la epoca de predominio analogico. En este sentido, se ha tomado como poblacion objeto de estudio al colectivo de personas no profesionales de la fotografia, con edades comprendidas entre los 35 y 50 anos, considerados inmigrantes digitales. Siguiendo la metodologia cualitativa, se han realizado entrevistas semiestructuradas con fotoelicitacion para una aproximacion a los espacios de reflexion clave en relacion con el fenomeno de estudio. Entre los resultados, destacan los cambios experimentados en la produccion, almacenamiento, distribucion e incluso remembranza de fotografias. La camara, ahora anexa al smartphone, ha propiciado que la fotografia se convierta en un elemento mas de la cotidianidad al estar presente en todos los espacios y, en efecto, aparecen nuevas formas de usarla. El propio acto de fotografiar esta cada vez mas vinculado al uso de plataformas de social media, donde la fotografia online y pasajera se antepone a la fotografia de papel como sinonimo de recuerdo. Lo comunicativo se antepone a lo conmemorativo. EnglishThe photographic medium has been altered by the digital process, especially accompanied by the popularization of smartphones equipped with high-quality cameras and the development of social media platforms on Web 2.0. The practices and meanings that involve digital photography seem to differ from those of the analogical culture. In this article, applying an exploratory approach, we seek to examine the configurations that emerge around the digital photography, with special attention to its uses and social functions, compared to the time of analogical dominance. In this sense, non-professional photographers, aged between 35 and 50 and considered digital immigrants, have been taken as the target population. Following a qualitative methodology, semi-structured interviews with photo-elicitation have been carried out for an approach to the key reflection spaces in relation to the study phenomenon. Results highlight changes in production, storage, distribution and even remembrance of photographs. The camera, now attached to the smartphone, has allowed photography to become another element of everyday life by being present in all spaces and, indeed, new ways of using it appear. The act of photographing is increasingly linked to the use of social media platforms, where online and fleeting photography takes precedence over paper photography as a synonym for memory. Communication precedes commemoration.

Synopsis Digital photography and videography provide rich data for the study of animal behavior and are consequently widely used techniques. For fixed, unmoving cameras there is a resolution versus field-of-view tradeoff and motion blur smears the subject on the sensor during exposure. While these fundamental tradeoffs with stationary cameras can be sidestepped by employing multiple cameras and providing additional illumination, this may not always be desirable. An alternative that overcomes these issues of stationary cameras is to direct a high-magnification camera at an animal continually as it moves. Here, we review systems in which automatic tracking is used to maintain an animal in the working volume of a moving optical path. Such methods provide an opportunity to escape the tradeoff between resolution and field of view and also to reduce motion blur while still enabling automated image acquisition. We argue that further development will be useful and outline potential innovations that may improve the technology and lead to more widespread use.

The ‘digital turn’ in archaeology has resulted in documentation, analysis, visualization and repository requirements becoming increasingly digital in recent years. However, we are only at the beginning of understanding how the shift from analogue to digital affects archaeological interpretation, as attention has mainly been directed towards technological aspects. However, how archaeology is executed influences the production of archaeological knowledge, and additional research into digital practices and their consequences is needed. During the latest excavation in 2014 of the Neolithic flint mines of Södra Sallerup, in Malmö in southern Sweden, several recording methods were used to document the remains in plan, including hand drawing, digital mapping with GPS and digital photography using a camera mounted on a pole. The records were used to create both a digital plan as well as georeferenced orthophotos from a 3D model and from photomosaic. The aim was to produce a record comparable to previous documentation from decades of archaeological excavations of the flint mines in the area, as well as one that is up-to-date with today’s digital standards. The methods are described and their consequences for the archaeological results are discussed.

The Unmanned Aerial Vehicle (UAV) has been around for a long time but has been widely used recently by humans. Their acceptance of various communications-based applications is expected to improve coverage, compared to traditional ground-based solutions. In this paper, the Deep-learning and Image Processing Process framework is expected to provide solutions to the various problems already identified when UAVs are used for communication purposes. UAVs are used in disaster relief because of their accessibility even in inaccessible places. In this paper, we propose research into Deep learning and Image Processing strategies for UAVs. In deep learning is a form of machine learning that teaches computers to do what comes naturally to people: learn by example and get a lot of attention recently and for a good reason. It achieves previously impossible results. Image processing is the process of performing a specific task on an image, finding an enhanced image or extracting useful information from it. So our paper has the idea of using in depth face recognition and photo processing a digital photo taken by the UAV to identify victims of rescue, overcoming back to the latest UAV technology some of which include blurry images, unable to identify the victim when there are too many objects and much more. The solution includes a variety of features that allow for the distribution of images. It includes features and presentation of image detection and demonstrates the effectiveness of drone use in damage applications.

Pathology informatics has been developing as a response to a large amount of diagnostically relevant morphological information and attempt to the best store and use it. The main components of pathology informatics include digital images of histological slides and gross photographs, telepathology, and electronic data collection. Photo documentation of gross specimens is an integral part for efficient work of a pathologist. Currently, many grossing stations are equipped with continuously recording video cameras. A logical and detailed description of the macroscopic specimens, supported by properly obtained digital photographs, should be the standard of a modern pathology report. However, with the increasing workload of the pathologists, they have less and less time to take gross photographs. That is why, in our opinion, it is important to ask questions such as: what is necessary to photograph, how to take a photo of the gross specimen, and in which order? There are only a few publications on this topic in both domestic and foreign literature. This paper attempts to summarize the literary data on this topic, based on which a list of medical use cases that require a mandatory photo documentation has been created. Practical recommendations have been developed and are outlined for gross photographs. In the context of widespread use of digital photography as a resource for deep learning of neural networks and digital analysis, this article will be useful not only for postgraduate education of pathologists, but also for physicians of other specialties.

The present study explores how the construction and distribution of selfies might interact with features of newer media to affect women who share selfies on social media. In particular, this study focuses on how specific types of photo modification and the nature of favorable audience feedback received on one's images might exert influence on women's state self-objectification and body image concerns. A 3 × 2 between-subjects lab experiment was conducted to explore how the type of photo modification (appearance modifications, nonappearance modifications, or no modifications [control]) and nature of positive feedback (appearance comments vs. nonappearance comments) affect state self-objectification, state appearance satisfaction, pro-cosmetic surgery attitudes, and willingness to distribute selfies on social media in the future. Results indicate that modifying selfies leads to less appearance satisfaction and lower pro-cosmetic surgery attitudes. Receiving appearance comments on selfies heightens state self-objectification, regardless of the type of photo modification. In addition, the more women self-objectified, the more inclined they were to share similarly objectifying selfies on social media in the future. The findings of this work provide a more comprehensive understanding of how women are impacted by the images they share online.

This study examined preservice teachers’ understanding of children’s play in diverse cultures. Using digital photo essay methods, a total of 37 early childhood preservice teachers in Myanmar, Korea...

Scoring moult from live birds in the hand takes time, thereby increasing the handling stress to the birds. We show that digital photography can be used to efficiently study moult extent across multiple feather tracts. We photographed the upper wings of incubating albatrosses and giant petrels to infer which remiges and greater secondary coverts had been replaced in the previous year. Wear contrasts differentiating ‘new’ from ‘old’ feathers were easier to see for dark than white feathers, and could be enhanced by increasing image saturation. Repeat photography of the same individuals in successive years showed that the inner secondaries and associated greater coverts wear faster than the central secondaries, and this needs to be considered when aging feathers of unknown birds. Scoring primary moult in the hand took more than twice as long as photographing the entire wing. There were a few discrepancies between moult scores from photographs and birds scored in the hand, mostly due to older feathers being scored as new. These errors likely resulted from rushing to score moult in the hand under indifferent lighting conditions. However, it is essential to ensure that the wing is fully spread, so that all feathers are visible. Photographing had no impact on hatching success and it is a useful and reliable method to study the extent and symmetry of moult. Utilisation de la photographie numérique pour étudier l’étendue de la mue chez les oiseaux de mer nicheurs L’évaluation de la mue des oiseaux vivants dans la main prend du temps, ce qui augmente le stress de manipulation pour les oiseaux. Nous montrons que la photographie numérique peut être utilisée pour étudier efficacement l’étendue de la mue sur de multiples éstensions de plumes. Nous avons photographié les ailes supérieures d’albatros et de pétrels géants en incubation pour déduire quelles rémiges et grandes couvertures secondaires avaient été remplacées l’année précédente. Les contrastes d’usure qui différencient les ‘nouvelles’ des ‘anciennes’ plumes étaient plus faciles à voir pour les plumes sombres que pour les blanches, et pouvaient être améliorés en augmentant la saturation de l’image. Des photographies répétées des mêmes individus au cours d’années successives ont montré que les secondaires internes et les grandes couvertures associées s’usent plus rapidement que les secondaires centrales, ce qui doit être pris en compte lors du vieillissement des plumes d’oiseaux inconnus. L’évaluation manuelle de la mue primaire demande deux fois plus de temps que la photographie de l’aile entière. Des écarts ont été entre notées entre les marques de mue des photographies et les oiseaux marqués à la main, principalement en raison des plumes plus anciennes qui étaient marquées comme neuves. Ces erreurs résultaient probablement de la précipitation pour marquer la mue à la main dans des conditions d’éclairage indifférentes. Cependant, il est essentiel de veiller à ce que l’aile soit entièrement déployée, afin que toutes les plumes soient visibles. La photographie n’a pas eu d’impact sur le succès de l’éclosion et constitue une méthode utile et fiable pour étudier l’étendue et la symétrie de la mue.

Among the arsenal of creative styles of the photographer, we cannot overlook the multiple artistic effects that the movement of subjects in the image allows to appear, which appear as color brush strokes on canvas. shots with long exposure times do not just capture a moment. Movements of things or people are blurred and seem to flow through time. Depending on whether we expose for a few seconds or several days, we can capture moving clouds, flowing water, stars, or the wilting of a flower. For the human eye, this suddenly reveals connections that were hidden before. There are many techniques used to show movement in digital photos, some of which depend on the stability of the camera during exposure: such as star trails. and the other depend on moving the camera during exposure: such as panning. Implementing each of these techniques in an optimal manner requires good planning of the expected movement shape before shooting, as well as controlling many elements during filming. The research problem lies in how to adjust the composition, clarity, exposure, focal length and shutter speed, in addition to maintaining the sharpness of the details of the fixed parts in the composition and get rid of the noise resulting from long exposure times. Therefore, the research aims to find out how each of the showing movement techniques in the digital photo is implemented, to achieve accuracy in composition and control of clarity and exposure, while obtaining the desired effect from showing movement in the still image.

The impact of Gestalt theoryon the photographic art image CompositionExpressive painting movement is a German and French for more points affecting the genesis and evolution of art, artists have called to resist the control of art in academic templates and obtain their freedom to express their feelings and self encloses herewith information and access to these feelings rather than show The external appearance of the subjects, or emotions. The research aims to determine the impact of the theory of Gestalt on the path of the photographic art movement, and its role in the evolution of the concepts of photography in the light of modern art schools and trends in the world. And prove that its principles are still valid in contemporary photographic art.The research problem is What are the changes brought about by Gestalt theories, ideas in the design of contemporary photo? And how it influenced the artistic vision of photography? Gestalt principles are in Visual perception are as follows:1. the ground Figure 2.Similarity 3-Proximity 4. Common region5. Continuity 6. Closure7. Focal Point-After completion of the research, the results can be formulated in the following points:- Gestalt principles adherents ideas tended to devise new forms of photographic compositions. - the principles Gestalt credit for laying the foundations for real photographic composition to become more nuanced compositions both for each component or as a whole.- Gestalt visions were formed a new photographic image are a no longer mere transfer of reality but a tool of creativity to the photographic artist, which has continued to this day and have become higher and improved production capability with the development of digital technologies and software image processors to produce photographically creative.The search ended for the following recommendations- Further studies and research for scholars and researchers in the field of professional photography ideas for principles of Gestalt.- the teaching principles of Gestalt within their curriculum in design at Department at the Faculty of applied arts Helwan University.- The photographers are working in the field of interest to study Gestalt principles to develop their creative and professional specializations.

Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography.

The popularisation of digital photography has widened the gap between mainstream photography and alternative photographic processes. Analyses of the so-called post-photographic era have largely ign...

Objetivo deste trabalho foi fazer um levantamento bibliográfico para estabelecer um protocolo fotográfico aplicado à Harmonização Orofacial, de fácil execução e que seja útil ao cirurgião-dentista, e outros profissionais da área, porém respeitando os princípios básicos da fotografia. Revisão da literatura: Isso é importante, uma vez que, a foto digital é um recurso tecnológico que facilita o registro das imagens de interesse e tem sido bastante utilizada na odontologia. As imagens exercem um papel importante para o planejamento e para o acompanhamento do tratamento, tanto pelo profissional como pelo paciente, e ainda possibilita uma análise comparativa das fases do procedimento. Na Harmonização Orofacial (HOF), a padronização fotográfica é de extrema importância para se observar a evolução e mudanças proporcionadas pelos procedimentos realizados. Concluímos, então que há uma necessidade de se estabelecer uma normatização para o registro fotográfico na HOF, para que esta seja uma forma de documentação que componha o prontuário do paciente e possibilite a utilização das imagens de forma precisa e objetiva, permitindo a análise da evolução dos tratamentos realizados.

This special issue ofAngliaaddresses the wide-ranging transformations digitization has created in the field of book history. Several decades after the birth of Digital Humanities, the contributors to this special issue take stock of the challenges, promises and achievements of digital editing and cataloguing of medieval manuscripts. In addition, the articles discuss and assess the potential of computational methods, of big data and algorithms, of text mining techniques, stylometrics, multi-dimensional scaling and clustering, together with navigational tools such as scatterplots and dendrograms. The objects of investigation are both medieval manuscripts and newly digitizedœuvresof modern writers such as Samuel Beckett, intermedial formats such as Alan Moore’s graphic novels and the online publication of a short story by Kristen Roupenian.

A total of 85 consecutive patients had their wound area measured. The procedure was executed in two parts. The first was to take photographs of the wound using a smartphone and measure the area using the imitoMeasure application (imito; imito AG, Zurich, Switzerland) by two raters. The second was to take photographs of the same wound using a 10-megapixel digital camera and posterior measurement of the area using ImageJ software (National Institutes of Health, Bethesda, Md) by one operator. The mean area of the wounds was 12.20 ± 10.45 cm2 for imito and 12.67 ± 10.86 cm2 for ImageJ measurement. The interclass correlation coefficient (ICC) between ImageJ and imito was 0.978 for a single measure and 0.989 for the average measure. Considering the two measurements, the ICC demonstrated excellent interobserver correlation using imito (0.987). Larger wounds had a greater difference between the methods (4.28% greater with the ImageJ measurement when considering areas >9 cm2). No difference was found between iOS (ICC, 0.995) and android (ICC, 0.970) smartphone operating systems. The smartphone application is a useful method for area measurement with excellent accuracy compared with digital photography and the ImageJ processing tool.

U radu se opisuje optički sustav, sustav za dohvat slike i rad kamere kao cjeline. Programsko rješenje je pisano u programskom jeziku Python na principu koda otvorenog izvora. Sklopovsko rješenje se temelji na Raspberry Pi platformi i omogućuje modularan dizajn i nadogradnju u budućnosti. Analizirana je kvaliteta izvedbe i dobiveni rezultati. Paper describes the optical system, image aquisition system and a digital camera. Software solution was written in Python as open-source code. Hardware solution is based on the Raspberry Pi platform and enables modular design and future upgrades. Production quality and produced results were analyzed.

Görüntülerin dijital teknoloji kullanılarak üretildiği ve ‘hakikatin önemsizleştiği’ bir çağda, varlık amacı ‘hakikati açığa çıkarmak’ olan belgesel fotoğrafın nasıl konumlandığını tespit etmeyi amaçlayan bu çalışmada, modernizm sonrası fotoğrafta ‘gerçeklik’ tartışmaları ekseninde belgesel fotoğrafın sahip olduğu yeni kavrayışları okumak ve terk edilen geleneksel yaklaşımın yerini alan ‘post-doc’ fotoğraf pratiğinin izini sürerek belgesel fotoğrafın bugünkü işlevini sorgulamak hedeflenmektedir. ‘Hakikatin önemsizleştiği yerde fotoğraf hala belgesel midir?’ sorusunu takip ederek gerçekleştirilen incelemede, kurgunun hakikate içkin hale geldiği yeni bir gerçeklik anlayışının ortaya çıktığı, felsefesini bu yeni gerçeklik üzerine kuran post-doc yaklaşımın insanları etkilemek için ‘hakikatin gücü’ yerine kendi kurmaca gerçekliğini kullandığı görülmüştür. Bu bağlamda günümüzde belgesel fotoğrafın ‘gerçek’ten değil gerçeğin kendisinden daha güçlü olduğunu iddia ettiği inşa edilmiş bir versiyonundan güç alarak var olmaya devam ettiği anlaşılmıştır., This study aims to determine how the documentary photography, whose objective is to 'reveal the truth', is positioned in an era where images are produced by using digital technology and 'truth becomes unimportant'. It is aimed to analyze the new conceptions of documentary photography, based upon the discussions of 'reality' in post-modernist photography and to question the current function of documentary photography by tracing the 'post-doc' photography practice which has replaced the traditional approach. In the analysis carried out by following the question, 'Is photography still a documentary in post-truth are?', it was observed that a new understanding of reality emerged, in which fiction became immanent to truth, and that the post-doc approach, which bases its philosophy on this new reality, uses its own fictional reality instead of the 'power of truth' to influence people. In this context, it has been understood that today, documentary photography continues to exist not by the 'truth', but by a constructed version of the reality that it claims to be stronger than itself.

Digital photography is a method easily employed to capture images. Mobile devices such as smartphones and tablets as well as dedicated cameras are used to capture images. Furthermore, as hardware continues to improve, the resolution of images in 100 MP and 8K videos has recently been increased, and the quality of images enhanced through various types of image processing software. However, because the focus of photography is to record a moment activity, recording the orginal color of subject has been pushed back from priority. Digital photographs of cultural heritage are mainly captured for aesthetic appreciation and database construction. Those images for the purpose of the latter should record the exact color and shape of the subject. However, the theoretical approach of this is difficult and relatively complex procedures are able to create images that differ from the original color. Thus, it means falling in value that culture heritage data of important for color conservation. Various attempts have been made throughout the industry to capture the original colors of the subject accurately. The color management system (CMS) is a typical method of such. In this study, digital color reproduction and record studies were conducted on representative oil paintings of modern times in Korea. Accordingly, the light source’s color index and color temperature were measured. Furthermore, a color recording environment was established and digital images were acquired. Subsequently, it was able to record the original color through CMS-based image processing. It is believed that this study will enable one to understand the production techniques of works through the color record of oil paintings and help one to monitor conservation conditions such as discoloration.

Conventional techniques described in the literature for the manufacture of ocular prostheses are time-consuming since they involve manual work. The use of technologies could improve this laborious process, providing better esthetic outcomes. This technique describes how to manufacture the ocular portion of an orbital prosthesis using a smartphone camera, color calibration with a tooth shade guide, and digital printing. This method allows clinicians to fabricate customized ocular prosthesis by using a photograph of the patient's eye, thus eliminating the need for hand-painting and manual work, and reducing fabrication time.

Technical problems in the digital photography era have now beenovercome by the sophistication of cameras. The problem thattechnology cannot solve is the composition of the image.Composition is a skill that requires an understanding ofphotographic objects, visual elements, and artistic experience.Composition is related to the placement of objects and how to build aflow of view in viewing photos that have an impact on the impressionof the photo. The decision to press the camera's shutter button is aconsideration of composition, and is not easily understood bystudents or beginners who are just learning photography. So thatwith knowledge of the composition of this golden section,photographers can produce more optimal work. Careful at everyvisual element that exists, skilled in arranging objects so that bettervisuals are created. Super-sophisticated camera technology cannotsearch for objects on its own, therefore this research is offered. TheGolden Section Theory has been successfully applied to the field ofarchitecture in the 5th century BC and in the field of painting duringthe renessance era. In this study, the author tries to apply thisformula to determine the main object (center of attention) in a beachscene photo in Gunungkidul in 2: 3 image format or the defaultDSLR camera format.

The pathology practice environment varies per healthcare setting. However, anatomic pathology is a visual applied science discipline and incorporation of high-quality images into a surgical pathology report is essential. Each specimen received for morphological examination is unique and variation in the description can exist between prosectors and they experience. Thatiswhy gross descriptions supported with digital photographs can eliminate the insufficiency of macroscopic examination. To form and strengthen pathologists competencies in digital macroscopic photography a problem-based learning approach is used for training. A problem-based learning ensures the strength of the acquired knowledge since it is obtained in an independent activity. The article discusses what type of problems a pathologist should solve when taking a macroscopic photograph of a surgical specimen. An analysis of literature on modern equipment for digital macroscopic photography was performed. Recommendations for step-by-step photographing, and schematic mapping for surgical specimen triaging are provided. An option is proposed for actively developing professional competencies including creation of digital photo archives of surgical gross specimens, as well as study sections and discussions by professionals at forums such as society meetings. It was concluded that pathologists competency in digital macroscopic photography is necessary to maintain a high standard of medical care.

Proponho uma reflexão sobre como câmeras de baixa fidelidade contribuem para subversão da fotografia tradicional e para a consolidação de uma estética caracterizada por ruídos e falhas, denominada estética da precariedade. Abordo ainda a apropriação, padronização e mercantilização da estética da precariedade pela indústria fotográfica digital, por meio de aplicativos de edição de imagens e redes sociais de compartilhamento de fotos e vídeos.Palavras-chave: Estética da precariedade; Fotografia de baixa fidelidade; Fotografia analógica; Fotografia digital; Indústria fotográfica.AbstractI propose a reflection on how low-fidelity cameras contribute to the subversion of traditional photography and to the consolidation of an aesthetic characterized by noise and flaws, called precariousness aesthetics. I also address the appropriation, standardization and commercialization of the precariousness aesthetic by the digital photographic industry, through image editing apps and photo and video sharing social networking services.Keywords: Precariousness aesthetics; Low fidelity photography; Analog photography; Digital photography, Photographic industry.