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Purpose: Waist line asymmetry is a major cosmetic concern in patients with adolescent idiopathic scoliosis (AIS). The primary surgical goal in patients with AIS is to correct spinal deformities and prevent further progression while maintaining global alignment. Additionally, an important objective of surgical treatment is to address physical appearance by reducing asymmetry. This study aimed to evaluate changes in waistline asymmetry using digital photographs in adolescents with thoracolumbar/lumbar (TL/L) scoliosis who underwent corrective surgery., Methods: We retrospectively analyzed the data of patients with Lenke types 5C and 6C AIS who underwent posterior fusion surgery with at least 2 years of follow-up. Waist line asymmetry was assessed using digital photography. The waist angle ratio (WAR), waist height angle (WHA), and waistline depth ratio (WLDR) were measured pre- and postoperatively. Radiographic parameters and the revised 22-item Scoliosis Research Society Questionnaire (SRS-22r) were also evaluated., Results: Forty-two patients (40 females and 2 males; 34 with type 5C and 8 with type 6C) were included in the study. The WAR, WHA, and WLDR significantly improved after surgery (0.873 → 0.977, - 2.0° → 1.4°, and 0.321 → 0.899, respectively). Every waistline parameter moderately correlated with the apical vertebral translation of the TL/L curve (WAR: r =  - 0.398, WHA: r =  - 0.442, and WLDR: r =  - 0.692), whereas no correlations were observed with the TL/L curve magnitude. No correlations were observed between the photographic parameters and SRS-22r scores., Conclusion: Lateral displacement of the apical vertebra on the TL/L curve correlated with waistline asymmetry. Preoperative waistline asymmetry improved with scoliosis correction., Level of Evidence: Level 4., (© 2024. The Author(s), under exclusive licence to Scoliosis Research Society.)

The use of hand painting an iris button using oil paint remains the conventional method of artificial eye manufacturing. The authors found that replacing this technique with a digital photograph taken of a patient's unaffected eye offers several advantages over the conventional method but the process from capture to print must be standardised and colour accurate. The authors of this paper suggest a tried and tested formulated photographic process of capture and printing prior to polymerisation. It discusses issues that can arise and how these can be overcome in order to achieve a high-quality print that can be used to produce a 'life like' ocular prosthesis.

Objective: The present study tested the validity of a digital image-capture measure of food consumption suitable for use in busy school cafeterias., Design: Lunches were photographed pre- and post-consumption, and food items were weighed pre- and post-consumption for comparison., Setting: A small research team recorded children's lunchtime consumption in one primary and one secondary school over seven working days.ParticipantsA primary-school sample of 121 children from North Wales and a secondary-school sample of 124 children from the West Midlands, UK, were utilised. Nineteen children were excluded because of incomplete data, leaving a final sample of 239 participants., Results: Results indicated that (i) consumption estimates based on images were accurate, yielding only small differences between the weight- and image-based judgements (median bias=0·15-1·64 g, equating to 0·45-3·42 % of consumed weight) and (ii) good levels of inter-rater agreement were achieved, ranging from moderate to near perfect (Cohen's κ=0·535-0·819). This confirmed that consumption estimates derived from digital images were accurate and could be used in lieu of objective weighed measures., Conclusions: Our protocol minimised disruption to daily lunchtime routine, kept the attrition low, and enabled better agreement between measures and raters than was the case in the existing literature. Accurate measurements are a necessary tool for all those engaged in nutrition research, intervention evaluation, prevention and public health work. We conclude that our simple and practical method of assessment could be used with children across a range of settings, ages and lunch types.

Background: Tracking of dietary intake is key to enhancing weight loss. Mobile apps may be useful for tracking food intake and can provide feedback about calories and nutritional value. Recent technological developments have enabled image recognition to identify foods and track food intake., Objective: We aimed to determine the effectiveness of using photography as a feature of a smartphone weight loss app to track food intake in adults who were overweight or obese., Methods: We analyzed data from individuals (age, 18-65 years; body mass index≥25 kg/m 2 ; ≥4 days of logged food intake; and ≥2 weigh-ins) who used a mobile-based weight loss app. In a retrospective study, we compared those who used the photo feature (n=9871) and those who did not use the feature (n=113,916). Linear regression analyses were used to assess use of the photo feature in relation to percent weight loss., Results: Weight loss was greater in the group using the photo feature (Δ=0.14%; 95% CI 0.06-0.22; P<.001). The photo feature group used the weight loss app for a longer duration (+3.5 days; 95% CI 2.61-4.37; P<.001) and logged their food intake on more days (+6.1 days; 95% CI 5.40-6.77; P<.001) than the nonusers. Mediation analysis showed that the weight loss effect was absent when controlling for either duration or number of logged days in the program., Conclusions: This study was the first to examine the effect of a food photo feature to track food intake on weight loss in a free-living setting. Use of photo recognition was associated with greater weight loss, which was mediated by the duration of app use and number of logged days in the program., (©Daniela Ben Neriah, Allan Geliebter. Originally published in JMIR Mhealth and Uhealth (http://mhealth.jmir.org), 29.05.2019.)

The aim of this study was to assess the influence of a polarizing filter on the accuracy of dental shade matching using digital photography. A comparison was performed using ΔEab parameters between CIE L*a*b* values obtained from digital images taken under two different conditions (with direct light and with polarized light) and the values given by the dental spectrophotometer SpectroShade Micro, which is considered to be the standard. Color differences (ΔEab) calculated between the parameters recorded with the dental spectrophotometer and polarized photography were below or at the level of the 50:50% acceptability threshold of 2.7 in 23% of the cases. Interdevice agreement found between the dental spectrophotometer and polarized photography exceeded 0.82 for all the three parameters recorded. Digital photography with polarizing filters might be a useful tool for dental shade matching.

Scientific photography is an important and indispensable tool in plant tissue culture research: photographs should be taken throughout a project for documentation. The aim of photography in plant tissue culture should be to illustrate clearly the differentiation, growth, and developmental stages occurring in vitro. Poor-quality scientific photography in tissue culture research and professional reports results in poor documentation. If visual aspects of the tissue culture are not well documented or not well reproduced in the image, an important part of the research is missed, the resulting report is of limited scientific value, and the research results may not be reproducible. Simple methods for improving the results of photography of materials from plant tissue culture are described and discussed, along with the necessary photographic equipment, suitable backgrounds, the construction of photographic plates, and correct use of electronic files for images. Finally, ethical concerns about image manipulation are discussed.

The article reports a case of the application of the thee-dimensional models of an injury on a corpse and of a blunt trace-forming object with which it was presumably inflicted for the identification purposes. The models were constructed based on a series of the digital photographs processed with the use of the specialized software program. The work with the application of the three dimensional models made it possible to avoid disfiguring of the corpse, to determine the stages and conditions of infliction of the injury in the graphic editor software environment, and to arrive at the conclusion about the parts of the traumatic agent with which the injury was caused.

Aim: The aim of this study was to investigate the intratester reliability of digital photographic method for quantifying static lower extremity alignment in individuals with flatfeet and normal feet types., Methods: Thirteen females with flexible flatfeet and nine females with normal feet types were recruited from university communities. Reflective markers were attached over the participant's body landmarks. Frontal and sagittal plane photographs were taken while the participants were in a standardized standing position. The markers were removed and after 30 min the same procedure was repeated. Pelvic angle, quadriceps angle, tibiofemoral angle, genu recurvatum, femur length and tibia length were measured from photographs using the Image j software., Results: All measured variables demonstrated good to excellent intratester reliability using digital photography in both flatfeet (ICC: 0.79-0.93) and normal feet type (ICC: 0.84-0.97) groups., Conclusion: The findings of the current study indicate that digital photography is a highly reliable method of measurement for assessing lower extremity alignment in both flatfeet and normal feet type groups., (Copyright © 2016. Published by Elsevier Ltd.)

Background: Infant formula is a major source of nutrition for infants, with more than half of all infants in the United States consuming infant formula exclusively or in combination with breast milk. The energy in infant powdered formula is derived from the powder and not the water, making it necessary to develop methods that can accurately estimate the amount of powder used before reconstitution., Objective: Our aim was to assess the use of the Remote Food Photography Method to accurately estimate the weight of infant powdered formula before reconstitution among the standard serving sizes., Methods: For each serving size (1 scoop, 2 scoops, 3 scoops, and 4 scoops), a set of seven test bottles and photographs were prepared as follow: recommended gram weight of powdered formula of the respective serving size by the manufacturer; three bottles and photographs containing 15%, 10%, and 5% less powdered formula than recommended; and three bottles and photographs containing 5%, 10%, and 15% more powdered formula than recommended (n=28). Ratio estimates of the test photographs as compared to standard photographs were obtained using standard Remote Food Photography Method analysis procedures. The ratio estimates and the US Department of Agriculture data tables were used to generate food and nutrient information to provide the Remote Food Photography Method estimates., Statistical Analyses Performed: Equivalence testing using the two one-sided t tests approach was used to determine equivalence between the actual gram weights and the Remote Food Photography Method estimated weights for all samples, within each serving size, and within underprepared and overprepared bottles., Results: For all bottles, the gram weights estimated by the Remote Food Photography Method were within 5% equivalence bounds with a slight underestimation of 0.05 g (90% CI -0.49 to 0.40; P<0.001) and mean percent error ranging between 0.32% and 1.58% among the four serving sizes., Conclusions: The maximum observed mean error was an overestimation of 1.58% of powdered formula by the Remote Food Photography Method under controlled laboratory conditions, indicating that the Remote Food Photography Method accurately estimated infant powdered formula., (Copyright © 2016 Academy of Nutrition and Dietetics. Published by Elsevier Inc. All rights reserved.)

The aim of this article is to validate the accuracy of Facial Assessment by Computer Evaluation (FACE) program in eyelid measurements. Sixteen subjects between the ages of 27 and 65 were included with IRB approval. Clinical measurements of upper eyelid margin reflex distance (MRD1) and inter-palpebral fissure (IPF) were obtained. Photographs were then taken with a digital single lens reflex camera with built-in pop-up flash (dSLR-pop) and a dSLR with lens-mounted ring flash (dSLR-ring) with the cameras upright, rotated 90, 180, and 270 degrees. The images were analyzed using both the FACE and ImageJ software to measure MRD1 and IPF.Thirty-two eyes of sixteen subjects were included. Comparison of clinical measurement of MRD1 and IPF with FACE measurements of photos in upright position showed no statistically significant differences for dSLR-pop (MRD1: p = 0.0912, IPF: p = 0.334) and for dSLR-ring (MRD1: p = 0.105, IPF: p = 0.538). One-to-one comparison of MRD1 and IPF measurements in four positions obtained with FACE versus ImageJ for dSLR-pop showed moderate to substantial agreement for MRD1 (intraclass correlation coefficient = 0.534 upright, 0.731 in 90 degree rotation, 0.627 in 180 degree rotation, 0.477 in 270 degree rotation) and substantial to excellent agreement in IPF (ICC = 0.740, 0.859, 0.849, 0.805). In photos taken with dSLR-ring, there was excellent agreement of all MRD1 (ICC = 0.916, 0.932, 0.845, 0.812) and IPF (ICC = 0.937, 0.938, 0.917, 0.888) values. The FACE program is a valid method for measuring margin reflex distance and inter-palpebral fissure.

Purpose: The purpose of this study was to validate elbow flexion and extension measured from smartphone photography obtained by participants and compared them with photographs obtained by surgeons and goniometric measurements., Methods: We enrolled 32 participants with a total of 64 elbows, aged 25 to 68 years. Participants obtained smartphone photographs of full elbow flexion and extension. Then surgeons obtained the same photographs and goniometric measurement of elbow range of motion (ROM). We measured ROM from the photographs using Adobe Photoshop and calculated average ROM. Comparisons of manual goniometer versus digital measurements, participant versus surgeon photograph measurements, and interobserver measurements were statistically analyzed., Results: Average ROM measured by manual goniometer and digital photographs was 0° to 129° (range, 0° to 140°) and 0° to 129° (range, 0° to 145°), respectively. The goniometer versus digital measurements interclass correlation was 0.828 (L) and 0.740 (R). Pearson coefficient was 0.845 (L) and 0.757 (R). Bland-Altman plots demonstrated that 30 of 32 digital measurements (L) and 31 of 32 measurements (R) were within the 95% confidence interval. Participant-obtained photographs compared with researcher's photographs interclass correlation was 0.955 (L) and 0.941 (R), with a Pearson coefficient of 0.962 (L) and 0.957 (R), respectively. Reviewing interobserver reliability, concordance coefficients were 0.793 (L) and 0.767 (R) and Pearson coefficients were 0.811 (L) and 0.780 (R). Bland-Altman plots demonstrated that 28 of 32 digital measurements (L) and 26 of 32 measurements (R) were within the 95% confidence interval., Conclusions: Measuring elbow ROM using smartphone digital photography is valid and reliable. Participants were able to obtain accurate photographs and the measurements based on these photographs show no statistical difference from those taken by surgeons or goniometric measurement., Clinical Relevance: This study validates using smartphone photography for measuring elbow ROM by laymen in a remote setting., Type of Study/level of Evidence: Diagnostic II., (Copyright © 2016 American Society for Surgery of the Hand. Published by Elsevier Inc. All rights reserved.)

Objective: Scar assessment in the clinical setting is typically impeded by a lack of quantitative data and most systems rely on subjective rating scales which are user dependant and show considerable variability between raters. The growing use of digital photography in medicine suggests a more objective approach to scar evaluation. Our objective was to determine if cameras could be of practical use for measuring colour in a clinical setting., Method: The measurement of colour and reflectance spectra in photographs faces two difficulties: firstly the effects of variable illumination spectra, and secondly to recover accurate colour and spectral information from the sparse red, green and blue (RGB) camera signals. As a result the colour rendition is often inaccurate, and spectral information is lost. To deal with variable illumination and other factors that systematically affect all reflectance spectra ColourWorker (a method for image-based colour measurement implemented in software) calibrates the spectral responses of the camera's RGB sensors using a colour standard in the image. To make best use of the calibrated signals, it takes advantage of the fact that although a given RGB signal can be caused by an infinite number of spectra, most natural reflectance spectra vary smoothly and have predictable forms. This means given a set of examples of spectra produced by the materials of interest, it is possible to estimate the specific spectrum that produced a given RGB signal once corrected for the illumination. We describe a method for recovering spectral and chromatic information relating to surface reflectance from ordinary digital images and apply this to analyse photographs of surgical scars, taken as part of a clinical trial, in an attempt to better quantify clinical scar assessment. It should be noted the pre-existing trial protocol did not allow for a comprehensive evaluation of the accuracy of the method which would require the spectrophotometric measurement of skin regions corresponding to those in the photographs., Results: Scar colour was estimated reliably, and with simple image analysis we were able to record the change in colour across the skin. Furthermore, we describe a simple automated assessment procedure that enables scar severity to be quantified and defined using a single scalar value easily., Conclusion: Such image-based colour measurement and assessment offers considerable advantages over other current methods, including spectrometers, which measure only a single point, or printed charts.

Smartphones are popular devices frequently equipped with sensitive sensors and great computational ability. Despite the widespread availability of smartphones, practical uses in analytical chemistry are limited, though some papers have proposed promising applications. In the present paper, a smartphone is used as a tool for the determination of cholinesterasemia i.e., the determination of a biochemical marker butyrylcholinesterase (BChE). The work should demonstrate suitability of a smartphone-integrated camera for analytical purposes. Paper strips soaked with indoxylacetate were used for the determination of BChE activity, while the standard Ellman's assay was used as a reference measurement. In the smartphone-based assay, BChE converted indoxylacetate to indigo blue and coloration was photographed using the phone's integrated camera. A RGB color model was analyzed and color values for the individual color channels were determined. The assay was verified using plasma samples and samples containing pure BChE, and validated using Ellmans's assay. The smartphone assay was proved to be reliable and applicable for routine diagnoses where BChE serves as a marker (liver function tests; some poisonings, etc.). It can be concluded that the assay is expected to be of practical applicability because of the results' relevance.

Objective: To describe a means of converting the Kowa RC-2 camera to a digital version., Procedure: The optic (OP) and the film portions (FP) of the Kowa RC-2 were separated. The lateral rails were unscrewed from the front plate of the FP. The front plate was detached from the FP. The plate was fixed to an anodized aluminum plate (AAP). The rails were screwed back onto the front plate. This system was reattached to the OP by means of the rails. A T2-E mount ring was screwed onto the AAP and fixed to a digital camera body (DCB). A flash sync extension cord was used to connect the flash cable of the Kowa to the DCB. The images obtained with the converted Kowa were inverted horizontally and vertically using image processing software., Results: The images obtained with the converted Kowa RC-2 were identical in format to those using the film version with a circular image surrounded by a black rectangle. The imaged ocular structures were accurately depicted, appearing upside down and reversed on the LCD screen. The DCB was set to manual mode and focus. The shutter speed was initially set to 1/250 s, and the ISO was adjusted based on the ocular structure being photographed. An extra filter had to be placed over the light source to dim the light when imaging reflective fundi., Conclusion: The converted digital version of the Kowa RC-2 as described provides an affordable means of obtaining high-quality images of various ocular structures., (© 2014 American College of Veterinary Ophthalmologists.)

Rationale and Objectives: To evaluate whether the presence of facial photographs obtained at the point-of-care of portable radiography leads to increased detection of wrong-patient errors., Materials and Methods: In this institutional review board-approved study, 166 radiograph-photograph combinations were obtained from 30 patients. Consecutive radiographs from the same patients resulted in 83 unique pairs (ie, a new radiograph and prior, comparison radiograph) for interpretation. To simulate wrong-patient errors, mismatched pairs were generated by pairing radiographs from different patients chosen randomly from the sample. Ninety radiologists each interpreted a unique randomly chosen set of 10 radiographic pairs, containing up to 10% mismatches (ie, error pairs). Radiologists were randomly assigned to interpret radiographs with or without photographs. The number of mismatches was identified, and interpretation times were recorded., Results: Ninety radiologists with 21 ± 10 (mean ± standard deviation) years of experience were recruited to participate in this observer study. With the introduction of photographs, the proportion of errors detected increased from 31% (9 of 29) to 77% (23 of 30; P = .006). The odds ratio for detection of error with photographs to detection without photographs was 7.3 (95% confidence interval: 2.29-23.18). Observer qualifications, training, or practice in cardiothoracic radiology did not influence sensitivity for error detection. There is no significant difference in interpretation time for studies without photographs and those with photographs (60 ± 22 vs. 61 ± 25 seconds; P = .77)., Conclusions: In this observer study, facial photographs obtained simultaneously with portable chest radiographs increased the identification of any wrong-patient errors, without substantial increase in interpretation time. This technique offers a potential means to increase patient safety through correct patient identification., (Copyright © 2014 AUR. Published by Elsevier Inc. All rights reserved.)

As digital photography proliferates in the contemporary world, theorists and creative writers continue to debate what photographs signify and how the poetic ekphrasis of photographs should be understood. This has become a pressing issue in an age when new technologies allow the easy manipulation of digital images – which, depending on the context in which they are viewed, are increasingly being characterised as creative, imaginative, unreliable or deceptive. Yet nineteenth- and early to mid-twentieth-century theorists tended to assume that photographs had a direct, if complex, relationship to observable, external reality, something reiterated by Susan Sontag as late as 1977. This paper discusses how ekphrastic poems by Thomas Hardy and Philip Larkin enshrine assumptions about photography that are now shifting, and how contemporary ekphrastic poems about photographs increasingly challenge, sometimes subversively, photography's link to the 'real'. Such poetry continues to emphasise the way photographs connote a 'chasm' or 'thickening' of time but are more troubled than earlier authors by the idea that photographs may not represent anything clear or knowable. Eve Joseph's and Leslie Scalapino's poetry demonstrates ways in which photographs tend to juxtapose a sense of transience with a new sense of photography's sometimes obdurate problematics. [ABSTRACT FROM AUTHOR]

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]

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]

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]

Dental photography is now an excellent tool that plays a crucial role in dentistry as it helps in documenting and analyzing the oral conditions of patients. Photography provides a visual representation of the teeth, gums, and other oral structures, which aids in diagnosis, treatment planning, and monitoring the progress of treatment. Therefore, it is essential for dental professionals to understand the importance of dental photography and incorporate photography it into regular practice. The purpose of this paper is to provide emphasis and elucidate the path of dental photography easier for dental student and practitioner. [ABSTRACT FROM AUTHOR]

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]

In 1925, Edwin Hubble took the first step towards increasing the size of the known universe by several orders of magnitude using the precarious photographic methods available at the time: glass plates and photosensitive emulsions. Analysing periodic variations in the brightness of certain stars (Cepheids) through photographs, Hubble was able to show that the distance between Andromeda and the Earth was much greater than previously thought. Thus, Andromeda, previously thought to be a nebula, had to be a galaxy different from our own. Suddenly, the estimated size of the universe went from a few hundred thousand light years to a few billion light years. Since then, the synergy between photographic technology and astronomy has continued to grow. [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 Journal of Media & Communication Research / Uluslararası Medya ve Iletişim Araştırmaları Hakemli Dergisi is the property of Journal of Media & Communication Research 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 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.)

Digital technology currently allows, both photography and computer images, to be equivalent graphic formats in terms of technical resources and evocative values related with the built heritage. Likewise, the balance between reliable surveying, visual expression and social contextualization, as general purposes of these images, has given rise to three basic categories: realistic documentation, post-edited views and reconstructions, and reinterpretation exercises. Both approaches are discussed through a brief historical review, as well as some images by contemporary authors. [ABSTRACT FROM AUTHOR]

The information era has raised expectations for cinema and television production in recent years. As a result, movie and television production has changed from silent to sound, black-and-white to color, along with more varieties and contents. Therefore, movies, television, and photography use camera motion tracking for effective performance. Based on the benefits and scope of the motion tracking technology, this study uses the aforementioned technology for cinema, television, and photography based on Big data. First, the video-based human motion tracking technology is described in detail, and video motion detection algorithms are introduced. Next, Big data technology is explained and integrated with motion tracking technology in movies and television production along with photography. The method selects the Hadoop open-source cloud platform as the underlying platform and combines the MapReduce distributed programming model and Apache Hadoop Distributed File System (HDFS). Next, it explains the types of real-time tracking technology, lists the operation process of motion tracking by applying it in movies and television production. The particle filter algorithm is employed for human motion tracking in movies, television production and photography technology. This algorithm tracks the initial posture of human body in the video, gathers tracking data, and analyzes human motion information and actions within the recorded footage. Finally, the results of motion tracking algorithms such as Particle Swarm Optimization-Particle Filter (PSO-PF), Particle Filter (PF), Kalman Filter (KF), Mean-Shift (MS) and Deep Neural Network (DNN) are compared and analyzed. The experimental results show that the motion time of a single for the selected algorithm was 84 ms and the tracking success rate was 96.5%, respectively, which indicates that the motion tracking success rate of the selected algorithm is higher. Through further testing of PSO-PF algorithm, the results show that it can process 26.67 Frame Per Second (fps), which is much faster and meets the requirements of movie, television production and photography technology. [ABSTRACT FROM AUTHOR]

This paper analyzes the relationship between photography and machine vision by examining its prehistory, as embodied in the art-historical photo archive. It characterizes the introduction of machine vision to the world of libraries, archives, and museums as a renewed (rather than wholly new) effort to mechanize or systematize art and its history. Assumptions and attitudes about photography embedded in the photo archive are therefore easily and often inconspicuously reproduced in efforts to study art computationally. Noting this repetition, this paper reframes the debate about art-historical applications of computer vision to emphasize the issues this technology raises about what constitutes art-historical work. The question is not whether we should use computer vision or computers for art-historical inquiry, but rather, what kinds of activities we ask computers to perform. Understanding machine vision in the context of its prehistory is critical for explicating its relationship to photography, and the role of photography and digital images in the study of visual culture more generally. [ABSTRACT FROM AUTHOR]

The article examines natural science competencies according to normative documents and standards in Bulgaria, aimed at the preschool-age child’s ecological transition and sustainable development. That is an ecological transition that supports the preschool-age child in acquiring the knowledge, skills and attitudes necessary for a more sustainable life, the so-called "sustainability competences" described in the European sustainability competence framework GreenComp2). It creates a condition for changing consumption patterns. It directs the public's attention to adopting a healthier lifestyle in harmony with the environment. The content parameters of the preschool-age children’s natural science competences in orientation in the surrounding world have been outlined. Special attention has been paid to their manifestation in the 6 – 7-year-old child by means of digital photography, guided by the idea that photography is regarded not only as a visualization technique, but also as a subjectively significant activity for the child in their orientation in nature. [ABSTRACT FROM AUTHOR]

Developmental stress experienced during the embryonic period has the potential to affect individual quality and to exert long‐term impacts on avian fitness. Avian integumentary characteristics such as skin and feather colour (potential markers of red‐related carotenoid pigmentation or black‐related melanin pigmentation) can affect mate selection and reproductive investment in the wild and can act as honest signals where the level of colour expression correlates with genetic, nutritional or environmental 'quality' of the individual. However, little is known about whether embryonic conditions and stressors experienced in ovo persist to affect integumentary adult feather and skin coloration. In this study, we used digital photography measures of eye‐ring and breast‐band colour, structural body size, feather corticosterone, and moult progression to assess whether temperature and contaminant stress experienced by embryos later impacts ornament expression in 1‐year‐old captive‐reared Killdeer Charadrius vociferus. Study birds had been previously exposed to polychlorinated biphenyl (PCB) 126 or DMSO (control) at different incubation temperatures (36, 37.5 and 39 °C) in ovo but were subsequently hatched and reared under identical conditions. We found corticosterone levels at hatch from Killdeer tail feathers were higher in response to increased incubation temperature (but not to PCB exposure), suggesting adrenal activity was affected by temperature during the sensitive in ovo period. Digital photography detected individual differences in integumentary colour that covaried with temperature treatment and feather corticosterone at hatch. Birds with higher feather corticosterone levels had chromatically blacker breast‐bands as adults and exhibited signs of earlier moult, structurally shorter tarsi, and longer head bill and culmen. Birds incubated below optimal temperature had chromatically more yellow (less orange) eye‐rings. Overall, we found that digital photography revealed differences in breast‐band and eye‐ring colour and that these variations in integumentary traits can reflect persistent differences in individual size and quality resulting from early life temperature stress. [ABSTRACT FROM AUTHOR]

"The Handbook of Phototherapy and Therapeutic Photography: For the Professional and Activist Client" by Del Loewenthal is a comprehensive and accessible guide to the transformative potential of therapeutic imagery through photography. The book offers practical ideas for integrating photography into therapy and personal growth, catering to a broad audience beyond mental health professionals. It provides a well-rounded blend of theory, research, techniques, and ethical considerations, with case studies from the author's own experience. The book also explores the distinction between phototherapy and therapeutic photography, advocating for a more encompassing categorization to foster collaboration and research in the field. Overall, it is a valuable resource for anyone interested in the therapeutic potential of photographs. [Extracted from the article]

In his latest book I Snapping and Wrapping: Personal Photography in Japan i (2021), distinguished anthropologist Richard Chalfen (Emeritus Professor of Anthropology, College of Liberal Arts, Temple University) presents the results of his outstanding research on photography and culture in Japan. In the search for patterns in communication and photography practices, and how "wrapping" and "snapping" come together in Japanese photographic expressions of family life, Chalfen offers a wide range of fascinating examples. Considering personal photography a leisure-time activity, both amateur and vernacular, Chalfen argues that personal photography is central to home media, a "home mode of visual communication" ([1], 9; see also [4]). [Extracted from the article]

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]

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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 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]