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Iako je u prošlosti uglavnom svrstavana pod “razno” u odnosu na druge pisane dokumente, fotografija se u današnje vrijeme sve više smatra primarnim povijesnim izvorom. U prvom dijelu rada objašnjeni su neki od osnovnih pojmova koji se vežu uz arhive i fotografije te koja je zapravo uloga fotografije u arhivu. Opisani su različiti postupci nastanka fotografija kroz povijest (heliogravura, dagerotipija, želatinske, suhe emulzije) do danas. Fotografije kao specifično arhivsko gradivo zahtijevaju posebne uvjete prostora za njihovo pravilno očuvanje, ali prije svega posebno educirano osoblje čija je zadaća osigurati navedene uvjete te znati pravilno postupati s fotografijama što je objašnjeno pred sam kraj rada. Glavni fokus u radu je stavljen na osnove koje je potrebno poštivati prilikom arhiviranja i konzervacije fotografija. Although in the past it has mostly been classified as “miscellaneous” in relation to other written documents, photographs are nowadays increasingly considered as a primary historical source. The first part of the thesis explains some of the basic concepts associated with archives and photographs and discusses the role of photography in the archives. Various procedures for the creation of photographs throughout history (helioengraving, daguerrotipia, gelatin, dry emulsions) to date are described. Photographs as a specific archival material require special storage conditions for their proper preservation, but above all specially educated staff whose task is to secure the conditions and to know how to handle the photographs properly, which is explained towards the end of the thesis The focus of this thesis is on the fundamental requirements to be respected when archiving and preserving photographs.

[ES] En este trabajo vamos a realizar una síntesis sobre las técnicas de fotografía aplicadas al campo de la arquitectura. Desde el momento de trabajo en campo durante la captura hasta el momento de su revelado y edición fotográfica posterior. Hablaremos de las herramientas necesarias para la obtención de las imágenes y también de como usarlas. Los fenómenos que se producen en la luz y como usarlos en nuestro favor para la obtención de las imágenes. Todo esto culminara con el estudio y puesta en escena de un caso practico a realizar. Una panorámica con rango dinámico ampliado de una escena arquitectónica. Desde el momento de la captura hasta la exportación del archivo teniendo en cuenta su soporte final., [EN] In this work we are going to make a synthesis about the photography techniques applied to the field of architecture. From the moment of field work during the capture to the moment of its development and subsequent photographic edition. We will talk about the tools necessary to obtain the images and also how to use them. The phenomena that occur in light and how to use them in our favor to obtain images. All this will culminate in the study and staging of a practical case to be carried out. An expanded dynamic range panorama of an architectural scene. From the moment of capture to the export of the file taking into account its final support., [CA] En aquest treball realitzarem una síntesi sobre les tècniques de fotografia aplicades al camp de l’arquitectura. Des del moment de treball al camp durant la captura fins al moment del seu revelat i edició fotogràfica posterior. Parlarem de les eines necessàries per a l’obtenció de les imatges i també com usar-les. Els fenòmens que es produeixen en la llum i com usar-los en el nostre favor per a l’obtenció de les imatges.

From the moment of invention to the present, photography is used in science, not only for documentary purposes, but also as an integral part of research methods. Photography has found its place in art, and the distinction between scientific and fine-art photography often remains a matter of agreement, resulting from the context in which it is presented. The purpose of the work is to show the specifity of scientific photography used in Earth sciences and to point out the rules which govern that kind of photography, as well as to emphasize that established principles of image composition are important in scientific photography. Technical aspects important in geological and geographical photography are presented, such as: selection of photographic equipment, exposure modes, recording of photos and camera modes. The use of different types of composition in photographic documentation in the above-mentioned scientific sub-disciplines are analysed. The choice of composition rules is subordinated to the nature of the documented objects, phenomena or processes. Scientific photography is governed by different rules when documenting geomorphological forms or atmospheric phenomena, processes occurring on the Earth’s surface, rock outcrops or small objects; other rules are useful in making photography for archiving, location, reportage, re-photography and landscape. A separate issue is the preparation of photos for publication, where they function as carriers of relevant information, supplementing the contents of a scientific text or scientific presentation. In the era of widespread photography many random images are created. It is particularly important to maintain discipline so that information noise resulting from an excessive number of shots does not get into scientific photography. It is important to use the advantages of digital photography in a reasonable way, subordinating scientific photography to its primary goal – complete and clear information about phenomena and processes occurring in the lithosphere, hydrosphere and atmosphere. Od momentu wynalezienia do chwili obecnej fotografia służy nauce, nie tylko do celów dokumentacyjnych, ale stanowi także element wielu metod badawczych. Fotografia znalazła swoje miejsce w sztuce, a rozróżnienie fotografii naukowej od artystycznej pozostaje niejednokrotnie kwestią umowną, wynikającą z kontekstu, w jakim jest prezentowana. Celem pracy jest wykazanie specyfiki fotografii naukowej wykorzystywanej w naukach o Ziemi, wskazanie zasad, jakim podlega oraz wykazanie, że również w tego typu fotografii istotne jest uwzględnianie ugruntowanych od dawna zasad kompozycji obrazu. Przedstawiono istotne w fotografii geologicznej i geograficznej aspekty techniczne, takie jak: dobór sprzętu fotograficznego, tryby naświetlania, zapis zdjęć i tryby pracy aparatu. Przeanalizowano zastosowanie kompozycji właściwej i formalnej w dokumentacji fotograficznej we wspomnianych subdyscyplinach naukowych. Wybór reguł kompozycji jest podporządkowany charakterowi dokumentowanych obiektów, zjawisk czy procesów. Specyficznymi zasadami rządzi się fotografia naukowa w przypadku dokumentowania form geomorfologicznych czy zjawisk atmosferycznych, procesów zachodzących na powierzchni Ziemi, fotografowania odsłonięć, małych obiektów; innymi fotografowanie do celów archiwizacyjnych, lokalizacyjnych, reportażowych, refotograficznych, a także krajobrazowych. Odrębnym zagadnieniem jest przygotowanie zdjęć do publikacji, gdzie stanowią one nośniki istotnych informacji, uzupełniających merytorycznie treść tekstu naukowego lub prezentacji naukowej. W dobie powszechności fotografii, kiedy powstaje wiele przypadkowych obrazów, szczególnie istotne jest zachowanie dyscypliny, tak aby w fotografię naukową nie przedostawał się szum informacyjny, wynikający z przesadnej mnogości ujęć, aby korzystać z walorów fotografii cyfrowej w sposób racjonalny, podporządkowując fotografię naukową nadrzędnemu celowi – pełnej i klarownej informacji o zjawiskach i procesach zachodzących w litosferze, hydrosferze i atmosferze.

Pretečom današnjeg fotoaparata smatra se camera obscura (tal. tamna soba) koja je u osnovi bilo kakva dovoljno zamračena prostorija s rupicom kroz koju prolaze zrake svjetlosti. 1826. je godine, uz pomoć nekog tipa camere obscure, nastala prva trajno fiksirana fotografija, kada je Nicephore Niepce višesatnom ekspozicijom uspio zabiljeţiti „Pogled s prozora u Le Grasu“. Kroz sljedećih nekoliko desetljeća pioniri fotografije iskušavaju razne fotografske metode i postupke, a vjerojatno najvaţniji pomak učinio je George Eastman izumom fotografskog filma 1884. godine. Sljedeći veći tehnološki pomak je pojava filma i fotografije u boji kada je Kodachrome film pušten u masovnu proizvodnju. Tek 1988. izraĎena je prva digitalna kamera Fuji DS-1P, a dvije godine kasnije Kodak prikazuje javnosti prvu komercijalno dostupnu kameru DCS 100, čime započinje era digitalne fotografije. Pinhole camera is considered to be the forerunner of modern photo camera, and basically it can be any kind of dark space with a hole through which are passing rays of light. In the year of 1826 was created first permanent photography in the world with some kind of pinhole camera, when Nicephore Niepce by the use of long exposure managed to record “View thru the window in Le Gras”. For some decades pioneers of photography were experimenting with variety of photographic methods and procedures, but the most important contrivance was the photographic film made by George Eastman in 1884. The next important technological step was occurrence of color film and photography, when Kodachrome film was released in mass production. First digital camera Fuji DS-1P was made in the year of 1998. Two years later Kodak presents first commercially available camera DCS 100, which signifies the beginning of digital era of photography.

Photography has a widespread usage in medicine and anatomy. In this review, authors focused on the usage of photography in gross and clinical anatomy. Photography in gross and clinical anatomy is not only essential for accurate documentation of morphological findings but also important in sharing knowledge and experience. Photographs of cadavers are supposed to demonstrate the required information clearly. Thus, photographs should be taken with certain techniques in order to obtain high quality and standardization. Camera, lens, lighting, background, and certain photographic techniques are among the factors to achieve precise images. A set of suggested guidelines for accomplishing these standards are given for anatomists. © 2011 American Association of Anatomists.

Url: http://josc.selcuk.edu.tr/article/view/1075000460, Kitle iletişim araçlarının işlevlerini haber alma, haber verme, propaganda, eğitim, eğlence, reklam yapma biçiminde sıralamak olasıdır. Böylelikle insanlar, belirli rolleri, değerleri, tutum ve davranışları kitle iletişim araçları yolu ile öğrenmekte ve düşünmeye güdülenmektedir. Kitle haberleşmesinin kazandığı çağdaş boyutlar görüntüyü habercilikte, ya da sınırlı anlamıyla gazetecilikte vazgeçilmez kılmıştır. Görüntüyü vazgeçilmez kılan bir neden de her dilden, her kültürden insanın okuyabileceği bir yazı niteliği taşımasındandır. Yazılı basında fotoğraf haber kavramının mahiyetini, anlamını ve özelliklerini en iyi açıklayan vitrinidir. Fotoğrafın kalitesi okuyucu üzerinde yaptığı etki ile ölçülür. İyi bir gazete fotoğrafı gerçeği söyler ve daha önemlisi bir öyküyü anlatır. Günümüzde fotoğraf makinesi ve basım teknolojisindeki ilerlemeler onu kullanan insanların temel becerilerindeki ilerlemeden daha hızlı olmaktadır., The fiınctions of the mass communication media can be listed as news gathering ,to inform, to pro-pagate, to educate, to entertain and to advertise. Thus, people learn certain roles, norms, attitııdes and behaviors and are oriented in their thoughts through the mass communication ınedia. The contemporaıy dimensions of mass communication have made the visual image indispensable for news or for journalism in it's limited meaning. Another reason which makes the picture indis-pensable, is that it makes up a script which stays comprehensible across cultures and languages. The nature, meaning and characteristics of the concept of the photograph in the press is best illus-trated by a shop window . The quality of a photograph is measured by it's effect on the reader. A good newspaper photo tells the truth and more important, it tells a story. Today, the improvements in photography and printing technology are faster advancing than the basic skills of the individuals which use them.