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This essay is a culmination of a twenty-two-year-long process of gathering, digitizing, and engaging a repository of photographs in the Palestinian refugee camp of Burj al-Shamali, southeast of Tyre, Lebanon. The larger project that emerged from years of collaboration, titled "Frictional Con-versations," combines research, conversational practice, and performative interventions to expand the concept of the photographic image by dematerializing and rematerializing it in new forms. This essay reflects a -frictional conversation among the authors that took place near Burj al-Shamali in November 2023. During the conversation, the authors revisited their collaborative work and specific collections of images; they also discussed their contribution to understanding the ongoing genocide of the Palestinian people, as well as their collective responsibilities to care for the digital repository. [ABSTRACT FROM AUTHOR]

Objectives: To assess the optic disc parameters in healthy Saudi children. Methods: This study recruited 85 children who were medically free, born full-term, cooperative, and aged 3-17 years. The children underwent a thorough ophthalmological examination (visual acuity, refraction post-cycloplegia, fundus photography) at the ophthalmology clinic of King Abdulaziz University Hospital, Jeddah. Fundus photographs obtained by a fundus camera were evaluated by the Retinal Size Tool program. Results: Forty-eight participants were male (56.5%). The mean birth weight was 2.97±0.8 kg and the median gestational age was 39 weeks (range, 37-40 weeks). The median areas of the neuroretinal rim, cup, and optic disc were 1.82 mm² (range, 0.84-2.83 mm²), 0.47 mm² (range, 0.18-1.25 mm²), and 2.33 mm² (range, 1.15-3.52 mm²), respectively. The older age group had smaller neuroretinal areas compared to the younger age groups. The variables demonstrated no apparent correlation to axial length, refraction, or birth parameters. The cup size increased together with the optic disc (r=0.659, p<0.001). Sex and refraction did not correlate with any of the studied factors. Conclusion: This study yielded normative data for the optic disc parameters of healthy Saudi children. The data can be used as a reference in the pediatric ophthalmology clinic to aid the identification of optic disc abnormalities. [ABSTRACT FROM AUTHOR]

In recent years, discourses on photography have undergone a transformative shift from a focus on the individual photograph's connection to memory, pastness, loss, and death towards exploring photographic imagery as shared, networked, and continuously circulating in a ubiquitous present. The general claim for the temporal dimension in this shift is that photography is no longer seen as a mere witness or reservoir of the past but instead points to or participates in an active present. Against this claim, the article argues for broadening the perspective, drawing on resources across C.P. Snow's "two cultures"—the arts and humanities vs. the natural sciences—to develop a better conception of time and a more varied and useful selection of photographic practices. In this connection, the article provides a reading of Paul Ricoeur's compound concept of "the third time", cutting across the two cultures. Drawing on insights from Patrick Maynard and Kelley Wilder, basic premises for photographic practices in the natural sciences are brought into the discussions of the discursive shift from a preoccupation with photography and the past to an interest in photography and the present. The purpose of this paper is to develop a better ground for navigating intricate questions about the relationship between photography and time. [ABSTRACT FROM AUTHOR]

The article offers information on the evolution of farriery into evidence-based equine podiatry, highlighting the development of new technologies and materials, as well as increased public awareness. Topics include the benefits of barefoot biomechanics, the effects of horseshoes on hoof health and pathology, and the use of monitoring equipment and techniques for evidence-based case progression assessment.

This article explores the use of smartphone cameras in conducting physics experiments to determine the transverse size and position of virtual images formed by lenses and a plane mirror. The authors explain that virtual images can be challenging for students to understand as they cannot be projected onto a screen. By taking photographs of the virtual images and using readily available software, the transverse width of the image on the camera sensor can be determined. The article provides theoretical equations and experimental procedures for determining the width and position of virtual images produced by lenses and a plane mirror. The authors present experimental results and data analysis for the virtual image width and position using Apple iPhone cameras, including the focal lengths of the camera lenses and pixel sizes. The measurements and calculations are done using equations and formulas, and the results show the virtual image distances and focal lengths for both lenses, with comparisons made to standard methods. The article also discusses the concept of magnification and includes tables and graphs to illustrate the data. Overall, the article emphasizes the simplicity and importance of using smartphone photography in physics experiments and highlights the accuracy and precision that can be achieved with this method. The authors, Sanjoy Kumar Pal, Soumen Sarkar, and Surajit Chakrabarti, have expertise in physics education and research. [Extracted from the article]

This article examines how the digitally manipulated family photograph functions as a means of understanding the temporal instability of the use and interpretations of photographic images. It begins by taking a close look at scholarly debates on how 'credible' the documentary value of a still photograph is, as well as how it is able to emotionally resonate with spectators. From this discussion, it becomes important to look at a key example of how an image can produce an emotional effect on a viewer; in this case, photographs of individuals' deceased family members. While exploring how this allows the spectator to reconnect with their relatives, it is also crucial to acknowledge that readings of images like these are often determined by reductive interpretations of their stillness. As the consideration of photographs as 'documents' has been contested for an extensive amount of time, it is illuminating to turn to the properties of digital photography by inspecting the photo manipulation feature 'Deep Nostalgia' on the MyHeritage app that circulated around TikTok in 2021. I look at a YouTube compilation of people reacting to seeing photographs of their family manipulated in a way that gives the impression that they are moving and emoting, alongside discussions about this in recent pop culture articles. By taking a Barthesian reading of the extended temporality of these family photographs, it is important to recognise that the connection between the subject and the image is severed both iconically and indexically from its original context. However, by understanding this photographic image in the context of being digital it must be understood differently. I will therefore use the MyHeritage phenomenon as a means of arguing that the digital image is not inferior to the 'realism' of analogue photography and must, instead, be read in relation to the history of technological change. [ABSTRACT FROM AUTHOR]

The recent advent of virtual photography and artificial intelligence (specifically AI photography and diffusion models), presents a major challenge to both photographers and photography theory. All our common-sense assumptions about the ontology of the image now seem to be falling apart. Are these interlopers really photography? Can we hear the final death knell for the erstwhile medium in this era of ever-increasing media convergence and virtualisation? This practice-led investigation of these new media forms draws on the author's recent creative work in virtual photographies, and similar interventions by other photographers and new media artists, seeking to augment and expand their practice using these new tools, whilst querying what photography really means today. From in-game photography to virtual exploration using Google Street View, to AI photography using the latest denoising diffusion models (such as Midjourney), there are surprising commonalities to explore between them, linking these new practices of image-making firmly back to traditions of lens-based photography. Rather than seeking a detailed map of this difficult new terrain, or a definitive ontology of emerging virtual photographies, the author reframes the discourse around practice, examining both photography as an evolving set of practices and also notions of media hauntology – specifically the spectral ways in which new media technologies are always haunted by prior practices and modes of communication. The importance of the frame to both traditional photography and new practices of virtual photography, is suggested as a vital and persistent dimension in photographic authorship. With that authorship increasingly contested by new generative methods, easy appropriation and AI image-making, the act of framing may become the best litmus test we have, for whether or not a photograph should be considered 'real' or valued. [ABSTRACT FROM AUTHOR]

Cultural institutions have long employed a range of copying technologies to safeguard and improve access to archival materials. This paper moves discussion beyond debates about institutional copying focused on a specific technology and raises questions about the trustworthiness of copies of archival photographs. This study uses differences between a source photograph and four copies to show that copying practices shape how copies of archival photographs can be used. It is situated within the Australian legal context of native title to sharpen the interrogation of the trustworthiness of copies; and, to demonstrate one implication of how copying shapes the evidential value of photographs. It considers how a witness may respond if asked to testify that one or all of these copies are trustworthy or to outline their shortcomings as evidence. It explains that while standards for microfilm copying documents valued creating trustworthy copies, the transition to digital copying was a missed opportunity to re-establish those standards for creating digital surrogates of photographs. While questions raised have yet to be tested in legal native title procedures, this paper argues that the promise of photographs for native title outcomes will come to rest with the trustworthiness of institutionally created copies. [ABSTRACT FROM AUTHOR]

The problem of temporality in photography has invoked a continuous debate concerning the artistic nature of this medium. Previously taken as a different way of seeing, the time signature in a photograph became debatable along with the development of digital photography. Photography’s status as the undisputed evidence of the truth is then no longer relevant. This changes the flow of discourse to a more philosophical one. However, the debate does not provide adequate defense concerning the role of photography in the digital era. The Platonic dualistic approach, especially the Cartesian one, is responsible for this regress. Immanuel Kant introduces transcendental causality to re-examine the Cartesian legacy. This Kantian approach needs to be developed further. Stephen Hawking’s cosmological model of Quantum Field Theory (QFT) working in anti-de Sitter space (ADs) offers a better explanation on this Kantian transcendentalism. The research shows that the non-temporality of photographic images is irrelevant with the development of the medium because Hawking’s approach fits the transcendental interaction proposed by Kant. This article concludes that photography is independent from temporal demands, and that the advancement of photography lies in its potential to pursue non-duality interactions. [ABSTRACT FROM AUTHOR]

Copyright of Iluminuras is the property of Revista Iluminuras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Purpose: Video game players, equipped with image capturing and rendering features, are taking photographs within digital worlds. This study examines video game photography as a documentary practice. By considering the experiences of a gamer-turned-photographer, this study offers an initial synthesis of this new document phenomenon and provides considerations for categorizing such photos. Design/methodology/approach: To discover the attributes of video game photography, this study utilized an auto-hermeneutic approach with self-interviewing and picture-sorting techniques. The resulting data were analyzed using interpretative phenomenological analysis. Findings: Without tangible artifacts to commemorate gaming experiences, photographs empower the player to document and artistically reconstruct moments from purely digital worlds. The three themes from this study's findings – that video game photographs act as (1) vehicles for storytelling, (2) creative trophies, and (3) aesthetic tokens – reveal how personally meaningful documents emerge from this medium. Furthermore, the findings uncover the fuzzy boundaries between play, artwork, and documentation. Practical implications: This study explores techniques for categorizing in-game photographs and eliciting gameplay memories. The methods outlined may assist video game researchers, conservators, and archivists with organizing photographs as context materials. Originality/value: By considering the lived experiences between one individual and their video game photographs, this study expands document theory into the underrepresented hobby of video games. [ABSTRACT FROM AUTHOR]

Aim. The study aims to explore the current state of digital game-based learning to reflect the extent, possibilities, opportunities, and limitations of its implementation in the specific field of education as visual art, especially photography. Method. The explorative study employed the method of theoretical analysis of available literature and other secondary sources related to the issue, and subsequently applied the method of an illustrative (descriptive) case study. Results. Photo modes of commercially available digital games, originally intended to increase the players' retention and participation, have led to the birth of a new art form, virtual photography. The technology of photo modes in a larger variety of recent games has made virtual photography available to significantly more players. Photo modes provide artistic control and creative options alongside a whole catalogue of lenses, camera parameters, and other features, reducing the financial burden associated with the purchase of photographic equipment. Furthermore, photo modes offer more than just a substitutable alternative to traditional photography, as added artistic value is found within virtual worlds. Conclusions. Despite some limitations regarding the overall implementation of digital game-based learning in photography classrooms, photo modes of commercially available digital games are a suitable tool for educational efforts in photography through both self-development and measurement of outcome-based learning. [ABSTRACT FROM AUTHOR]

Copyright of Revista de la Asociación Odontológica Argentina is the property of Asociacion Odontologica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the innovative incorporation of photography into documentary film, exploring the various ways this specific manifestation of intermediality permits us to see both photography and documentary film otherwise. Photographs, whether professional or vernacular, are conventionally understood to furnish documentaries with indexical evidence and visual illustration of history, yet the spatiotemporal and aural dimensions of film permit documentaries to illuminate photography's wider capacities beyond the merely representational. This essay argues that film can document more effectively than other media what people do with analog and digital photographs as material objects that enable various forms of social and political relationality through multisensory experience. Moreover, film can bring the event of photography into fuller view, demonstrating how no single participant (photographer, subject, camera, photograph, or viewer) has sovereignty over its affect, meaning, or value. [ABSTRACT FROM AUTHOR]

This study proposes an innovative pedagogy that incorporates epistemology in teaching photographic manipulation. Specifically, students explore their views of reality and infuse their contemplation into the production of assigned photographic projects. With readings and class discussions on the philosophical object/subject relationship, I first invite students to identify their individual views of reality, whether it is objectivist or subjectivist, or a position in between. By relating to the close connection between accomplished artists’ views of reality and their digital composite works, students better clarify their own notions of reality and how to go about creating their composite photographs. While contemplating their worldviews, students complete photographic assignments that are based on various epistemologies to identify their views. This paper explains the concepts behind this pedagogy, details a variety of methods I employ, and cites students’ views and photographic work that resulted from their philosophical exploration. [ABSTRACT FROM AUTHOR]

The use of digital photography medium is dominantly used in the process of investigating criminal cases. Digital photography used in the investigation process is also known as crime scene photography, where photographic images are produced to collect evidence, documenting the scene, and subsequently, be used as a reference for criminal case investigation and prosecution process. Using systematic literature review (SLR), this study identifies the current practice of digital use of photography in the process of investigating criminal cases. Searches via electronic databases of indexed journals, namely, Scopus, Science Direct, Web of Science and Springer were conducted. Data is limited to these journals was produced within the years 2017 until 2021 as the latest research information. The findings consist of 28 papers that had met the criteria by which this study touched on digital photography technology such as DSLR Camera, Drone Photography, and CCTV. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Penelope Umbrico's series entitled Everyone's Photos Any License (2015-) gathers photographs of the full moon that she selected from among the millions of similar images of the theme on the image-sharing website Flickr. In this paper, Istudy Umbrico's gesture, drawing from the flow of online digital images to give shape to often monumental photographic installations, using photographs of the moon taken by others. Her project is inscribed in an image ecology that defends arecycling approach in the context of the overwhelming available images online. Iargue that if Umbrico's series takes part in contemporary practices, it also refers to the history of photography and its tight links with astronomy. Drawing on the history of the photographs of the moon in the nineteenth century to the abundance of digital photographs today, Iattempt to show that Umbrico's series both thematizes the technical challenges of photographing the moon and the ongoing fascination it evokes, in atime of space tourism projects. Iargue that the artist's act of borrowing people's images of the moon mirrors our possessive relationship with images in the digital age and thus questions the notions of authorship and of uniqueness in today's flow of images. [ABSTRACT FROM AUTHOR]

Biometric portrait as one of the most important means of identifying requirements through strict definition of dimensional relationships, preservation of realistic information about all technical characteristics of the photographic image, so that all biometric values can be digitized and used in recognition. The great variety and accessibility of applications for digital processing of digital record of a photographic image has enabled a visually convincing display of a forged photograph that leaves a different impression on the viewer and transmits a different, that is, a forged message. Due to the need to prove the authenticity of the digital record of the photographic image, methods have been developed for the analysis of the record that can detect deviations from the real record even when there are no visual signs of processing the photographic image. Not all analysis techniques can detect certain methods of photo manipulation, so multiple digital photography detection and analysis techniques need to be applied. In order to prove its authenticity, the scientific paper deals with methods for analysis and detection of forgery of digital photography with respect to the digital record and the structure of JPEG format. [ABSTRACT FROM AUTHOR]

This article describes a technique for making an esthetic treatment plan by using a virtual face scan reconstructed from digital photographs through three‐dimensional dense face alignment (3DDFA) and intraoral scans. Portrait photographs were captured with a digital camera and were reconstructed to a virtual 3D face scan by 3DDFA. After scaling the virtual face scan to the correct size, intraoral scans and virtual face scans were aligned to create a 3D view of the patient. A virtual diagnostic waxing was created accordingly. In select cases, this technique can provide 3D esthetic predictions when 3D face imaging devices are not available. [ABSTRACT FROM AUTHOR]

The article presents a simple technological solution PMC (PhotoMicrometer Contrast) for monitoring cracks and deformation joints in buildings and structures. The solution is based on the methods of image processing and photogrammetry. The monitoring equipment includes a special marker, a digital camera and specialized processing software. The marker consists of two thin plastic plates where Aruco marks and special measuring areas are printed. There are two types of markers – for monitoring in one or two directions of crack development. While monitoring is performed, two plates are fixed on both sides of the crack or deformation joint. Then the plates are photographed with a digital camera as often as the observation cycle requires. Any conventional modern digital camera is suitable for photographing after successfully passing the distortion effect test described in the article. Image processing in the software includes automatic identification of the marker in the image, binarization of the image, determination of its scale and dimensions of measuring areas in the current observation cycle. For processing images made at large angles of inclination and rotation, a preliminary solution of the resection in space and the images rectification to the found angles is provided. The dynamics of crack development is determined by the results of several cycles of observations collected over period. Our technology ensures the accuracy of the determination of coordinates and deformations at the level of 0.05 mm and higher for photographing distances from 0.3 to 50 m. [ABSTRACT FROM AUTHOR]

The present study discussed the digitally archived photographs available in the digital archive section of the website of UNESCO. A total of 5048 photographs have been analyzed based on the topic, country, year, photographer's name, and the name of the person. It is found that digital archives are playing an important role to know about one's culture, past events, and initiatives. Digital archives are advantageous over traditional archives as they can be preserved for a longer period whereas traditional archives have many drawbacks such as getting damaged by rain, moisture, fire, and natural disasters. Every event that is useful from a future point of view should be digitized. [ABSTRACT FROM AUTHOR]

Copyright of Magis: Revista Internacional de Investigación en Educación is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this text is to present the literary image of the breakthrough that occurred with the invention of digital photography. The article focuses on the most contemporary Polish poetry - mainly authors born in the 70s, such as Jacek Dehnel, Marcin Świetlicki or Bronka Nowicka. On the basis of their texts, the literary image of both traditional analog photography and photos created with the use of the latest techniques is reconstructed. In her interpretations, the author uses the tools she has developed herself, which include concepts such as "photo-graphemicality", which is a combination of features linking text with photography, and "photo-grapheme", which is its individual realisation. [ABSTRACT FROM AUTHOR]

Many people are interested in taking astonishing photos and sharing them with others. Emerging high-tech hardware and software facilitate the ubiquitousness and functionality of digital photography. Because composition matters in photography, researchers have leveraged some common composition techniques, such as the rule of thirds and the perspective-related techniques, in providing photo-taking assistance. However, composition techniques developed by professionals are far more diverse than well-documented techniques can cover. We present a new approach to leverage the underexplored photography ideas, which are virtually unlimited, diverse, and correlated. We propose a comprehensive fork-join framework, named CAPTAIN (Composition Assistance for Photo Taking), to guide a photographer with a variety of photography ideas. The framework consists of a few components: integrated object detection, photo genre classification, artistic pose clustering, and personalized aesthetics-aware image retrieval. CAPTAIN is backed by a large managed dataset crawled from a Website with ideas from photography enthusiasts and professionals. The work proposes steps to decompose a given amateurish shot into composition ingredients and compose them to bring the photographer a list of useful and related ideas. The work addresses personal preferences for composition by presenting a user-specified preference list of photography ideas. We have conducted many experiments on the newly proposed components and reported findings. A user study demonstrates that the work is useful to those taking photos. [ABSTRACT FROM AUTHOR]

Photographic images of physical objects are common targets in remote viewing projects today. This exploratory experiment investigated whether the background within which the object is positioned may impact the accuracy of remote viewing. Twelve experienced remote viewers each completed 30 open-response, triple-blind remote viewing trials, requiring them to utilize extrasensory perception to describe the photographic image they would receive via email a few days later. Investigators created a photographic target pool of complex objects set within one of three background conditions: 1) White: devoid of information 2) Normal: a setting in which the object would typically be found. 3) Unusual: a setting which the object would typically not be found. Participants completed a total of 360 in-depth transcripts consisting of 8460 written descriptors and 1472 sketches. Two methods were used to analyze the transcripts for accuracy, the traditional sum of ranks matching procedure and an exploratory method involving the scoring of each item and sketch by both the participant and an independent judge. These two methods revealed significant but opposite differences for photographic targets of objects set within white backgrounds compared to the other two backgrounds. Better scores for targets with a white background were found for the traditional matching procedure, but worse scores were found for this background when each item and sketch were rated individually. In addition, the individual items and sketches were found to describe the target object more frequently than the background when normal or unusual backgrounds were present. Results suggest that object background can affect the outcome of remote viewing sessions, although the effect may depend on the scoring method applied. [ABSTRACT FROM AUTHOR]

This article investigates relationships between photography and measuring. It outlines main types of visual measurement within scientific photography (such as spectroscopy or photogrammetry) and proposes to broaden the analysis by understanding measuring as a visual cultural technique, which has a particular reach outside scientific institutions and uses. Here it connects arguments from media theory with questions of photography and argues that the centrality of measurement and metrics can be backtracked from current focus on questions of digital data to earlier techniques and discourses of visuality. It traces the conjunctions between the practices of imaging and measuring in the Renaissance, offering a genealogy that aligns photography with acts and processes of measuring, comparison, standardization and scaling as both their effect and cause. Making or looking at photographs always implies sighting, gauging, measuring and co-measuring, which as cultural techniques can be approached as recursive chains of operations. [ABSTRACT FROM AUTHOR]

This essay examines digital de‐aging—a process of making actors appear younger on‐screen than they actually are that has taken a firm hold in contemporary Hollywood cinema—as a controversial filmmaking tool that raises fundamental questions about cinematic realism in the digital age. Since Hollywood's visual effects are similar to the image manipulation that can be achieved with deepfake software, digital de‐aging is framed as a complex creative process that supports the actors' craft in order to distinguish it from the image manipulation and misinformation that has come to characterize the post‐truth era. I will discuss the affordances and limitations of Hollywood's "youthification" technology in terms of the shifting ontologies that characterize the transition from the photographic to the digital image, situate digital de‐aging within larger debates about synthespians and the realistic portrayal of digitally created human beings, and argue that de‐aging in films such as Gemini Man (Ang Lee, 2019) and The Irishman (Martin Scorsese, 2019) reconfigures linear temporalities and ultimately reshapes the concepts of time and memory by which we structure our life trajectories. [ABSTRACT FROM AUTHOR]

The increasing use of digital images for communication and interaction in everyday life can give a new lease of life to photographs in research. In contexts where smartphones are ubiquitous and many people are "digital natives", asking participants to share and engage with photographs aligns with their everyday activities and norms more than textual or analogue approaches to data collection. Thus, it is time to consider fully the opportunities afforded by digital images and photographs for research purposes. This paper joins a long-standing conversation in the social science literature to move beyond the "linguistic imperialism" of text and embrace visual methodologies. Our aim is to explain the photograph as qualitative data and introduce different ways of using still images/photographs for qualitative research purposes in health professions education (HPE) research: photo-documentation, photo-elicitation and photovoice, as well as use of existing images. We discuss the strengths of photographs in research, particularly in participatory research inquiry. We consider ethical and philosophical challenges associated with photography research, specifically issues of power, informed consent, confidentiality, dignity, ambiguity and censorship. We outline approaches to analysing photographs. We propose some applications and opportunities for photographs in HPE, before concluding that using photographs opens up new vistas of research possibilities. [ABSTRACT FROM AUTHOR]

Walter Dorwin Teague's design for the casing of the 1928 Kodak Ensemble brought together the latest camera technology with contemporary fashion. Shaped like a clutch bag, when opened the case contained not just a camera, but also a compact, lipstick, and mirror. Available in different colors and marketed to women, it represented connections between looking, seeing, being, and wearing, which expose shifts in 1920s modernity and femininity. This article analyzes the Kodak Ensemble, as a starting point for examining interrelationships between women, fashion, and photography, and between optic and haptic, and visual and material experience of dress, cameras, and photographs during a key period in the development of amateur photography and ready-made fashion. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Qualitative Forschung (ZQF) is the property of Verlag Barbara Budrich GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background: Graber introduced facial photographs as an internal diagnostic aid. Facial photographs could serve as an important alternative assessment tool in the absence of equipment for cephalometric analysis. Objectives: The present study was aimed at assessing whether analyzing the photographs could have precision for assessing the landmarks appropriate for facial analysis. In addition, the relationship between frontal cephalogram and measurements on photographs was assessed. Materials and Methods: Twenty individuals including both males and females within the age range of 18 years to 28 years were enrolled in the study. Frontal facial photographs, as well as frontal cephalograms, were obtained for all the included study participants. Various soft-tissue vertical and horizontal landmarks were marked on both radiographs and photographs. The data were collected and subjected to statistical analysis. Results: The results showed a statistically insignificant difference between all the vertical and horizontal parameters on photographs and cephalograms. The reliability of the digital photographs was comparable to that of the cephalograms with nonsignificant differences in the recorded mean values using the one-way ANOVA test where the statistical significance level was kept at P = 0.05. Conclusion: The present study concluded that photography is a cost-effective and reliable method for soft-tissue landmark identification, and allows recording the images of sufficient quantity for analysis. Low-cost and easily captured photographic images can replace costly radiographic procedures without causing any discomfort to the patients. [ABSTRACT FROM AUTHOR]

Objective: Diabetic retinopathy is one of the most common causes of preventable and treatable blindness in adulthood. Systemic screening with regular eye examination can prevent vision loss and blindness related to diabetic retinopathy. Our study aimed to see the efficiency of telemedicine application of fundus photograph for the diagnosis of diabetic retinopathy. Methods: We retrospectively compared the patients' follow-up situation for diabetic retinopathy screening from two different diabetic centers between January 2018 and January 2019. We recruited 3539 diabetic patients. Among these patients, 1883 of them were referred to ophthalmologist from the first diabetes center, which is located on the main campus of hospital and in the second center which is located away from the hospital, 1656 patients' digital photographs were taken. These images were transmitted through a telemedicine system to an expert ophthalmologist for evaluation. Results: As a result of the study, we saw that only 933 of 1883 (49.5%) patients had admitted to the ophthalmologist for retinopathy control. On the other hand, among the patients who were screened by a digital photograph with telemedicine method, almost all of the patients were evaluated (1589 of 1656) and only 67 (4%) of them could not be evaluated due to imaging problems. It is obviously seen that in the second center much more people had been evaluated when compared to the first center (933 [49.5%] vs. 1589 [96%]; p<0.05). Conclusion: Our study confirmed that the use of the retinal photographing intertwined with the telemedicine system should be used more widely into provide regular screening of diabetic retinopathy. [ABSTRACT FROM AUTHOR]

Since 2014, photographer Stephen Shore has been exploring Instagram as a new body of work, having its own online portfolio entry next to iconic series as American Surfaces and Uncommon Places. Instead of joining contemporary debates concerning the crisis of representation implicit in the networked condition of the photographic image, Shore is keen to engage with Instagram through the lens of modernism, concentrating his attention on the visual characteristics intrinsic to photography as a medium, a reasoning previously encapsulated in the primer The Nature of Photographs. Building upon selected samples from Shore's pre-digital archive in addition to his most recent series, Details, the research takes @stephen.shore as a significant case study to examine how Instagram affects the modernist emphasis on seeing photographically the ordinary, evaluating the contemporary relevance of Shore's networked notational impulse when many Instagram users engage with photography to keep a quasi-diaristic practice. Looking at the traces of everyday life, envisaged for Instagram or the gallery wall, the camera is but a tool for reflecting upon a concept Shore long borrowed from the great writer T. S. Eliot: the "objective correlative", allowing for poetry to be found, and given visual structure. [ABSTRACT FROM AUTHOR]

Based on ethnographic research in Cameroon, this article discusses recent developments in the field of African studio photography. It focuses first on how technical innovations have changed photographic practice and how this has affected studio photography in Cameroon. While new image-making professionals have emerged, most of the studios going back to the black-and-white era had closed down at the time of my research. Many of their photos were discarded or damaged. In the second part the article discusses how studio photography has been appropriated by the Western institutions of art and academia since the late 1980s, and how these ongoing activities contributed to the valorization and commodification of photographs outside their original contexts. As many photographs have either been destroyed, appropriated by the art market or have found their way into academic archives, I will conclude by arguing that these parallel developments have made the remaining studio photographs both precious and precarious. [ABSTRACT FROM AUTHOR]