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Photography is an art form where integration of the human visual perception and psychological experiences result in aesthetic pleasure. This research utilizes eye tracking to explore the impact of the properties of Gestalt in photography on people's visual cognitive process in order to understand the psychological processes and patterns of photography appreciation. This study found that images with Gestalt qualities can significantly affect fixation, sightline distribution, and subjective evaluation of aesthetics and complexity. Closure composition images seem to make cognition simpler, resulting in the least number of fixation and saccades, longer fixation duration, and more concentrated sightline indicating stronger feeling of beauty, while images which portray similarity results in the greatest fixation and saccades, longest saccade duration, and greater scattering of sightline, indicating feelings of complexity and unsightliness. The results of this research are closely related to the theories of art and design, and have reference value for photography theory and application. [ABSTRACT FROM AUTHOR]

Express techniques of target-oriented image fusion (IF) aim at target-data acquisition such as visual search, detection, recognition and identification of a target. They form a distinct class of the IF methods different from those designed for art photography. The most evident argument for their distinction is that the requirements concerned with the complexity of image-processing procedures and image-quality assessment are essentially different for the two classes. Namely, these requirements are of primary importance for one of the above classes and of no significance (or even inapplicable) for the other class. The express target-oriented IF methods need their specific quantitative image-quality indices, which are selectively associated with target visibility and conspicuity. After discussing the specific features of assessment of the quality of images fused using the express target-oriented IF methods, we suggest a method for determining the local contrast of a target and relate this index to the visibility of this target. We focus on applying the complex-scalar IF and complex-vector IF (CVIF) approaches, which have been developed recently, to the problems of express target-oriented IF. It is demonstrated that the ellipticity algorithm of the CVIF provides a considerable enhancement of the target visibility in comparison with the other express target-oriented IF methods. [ABSTRACT FROM AUTHOR]

We present the first quantitative analysis of representing rainbow colors in historical paintings from Antiquity to the twentieth century. Using high‐resolution photographs of art works we determined and analyzed percentages of areas from painted rainbows covered by different color categories. Our results are the first to quantitatively show that up to the nineteenth century, painters generally did not follow contemporary color theories when painting rainbows. The only evidence of an influence from color theory on painted rainbows is the use of a color scheme consisting of three primary and three secondary colors as described by d'Aguilon (1613) and others. For painting rainbows, this scheme was used for the first time in the early nineteenth century, rising to 6% of all paintings created during that century, and reaching 24% in the twentieth century. We conclude that in the vast majority of paintings, individual color choices by the painter were decisive. Additionally, we identified a few weak trends: (1) color combinations in painted rainbows over time gradually become slightly more similar to the color proportions in natural rainbows; (2) from the Renaissance onward, circa 35%–40% of the painted rainbows consist of orange, yellow and green, sometimes with white as well. This trend may originate from Antiquity; (3) Already from Antiquity a white band was used as an artistic but unrealistic device to create the impression of a luminous arc. This trend reached its maximum in popularity in Baroque, but it is still used in many painted rainbows up to the twentieth century. [ABSTRACT FROM AUTHOR]

Utku Varlık, who produced political works with original painting techniques such as engraving and lithography in the first years of his art life, changed his understanding of art after the mid-70s and produced works of fantasy with oil painting and penture techniques. Being interested in Renaissance art and artists in the first years of his education, he sought different ways to find his own understanding of art in the following period. Compositions created with fantastic elements, without the perception of time and space, draw attention in the works of Varlık, who also nourishes his art with different branches of art such as photography and literature. The artist focused on the theme of woman, one of the oldest and most common subjects in painting, and made it main subject of his art. He mysteriously depicts the representations of women in his works with the tulle details he uses in the imaginary places he called it the “Garden of Delusions”. In this study, since the number of the artist's paintings on women is high, only his works from the end of the 70s to the present are examined in 10-year periods in chronological order and it has been focused on his approach to the subject of women, which plays an important role in his art. [ABSTRACT FROM AUTHOR]

Without American literature, it is impossible to figure out Susan Sontag who reflected modern American thought by producing works in a lot of various fields such as in photography, cinema, and textual criticism. Susan Sontag, who was an unquestionable 'signature' in the written part of the intellectual world, did not hesitate to indicate properly the characteristics of the society she experienced in. She was a young woman who was in the front line of the anti Vietnam protests and also became a model in the 80s' magazines. In addition, she was brought to agenda with her cancer disease. In contrast to this, she proved her creativity in all branches of art by working in all from theatre to cinema. Susan Sontag questioned about technological development of photograph and whether photograph was art in her book titled "On Photography" and mentioned the place of photograph in the society of the USA. Susan Sontag presented this book, prepared in Turkish by Reha Akcakaya, to readers in six chapters. The purpose of the study is to explain whether photograph in Susan Sontag's book titled "On Photography" is one of the fields of art. At the end of the study, it was determined that painting gained independence with the technological development of photography and progressed towards modernist approaches. In the study, the six chapters of the book titled "On Photography" became the main subject. Each chapter was examined in itself, supported by the views of other thinkers. The limits of there search were determined as the book titled "On Photography". Qualitative data analysis was conducted since the method in the research was qualitative descriptive research. A literature review was also conducted in the research. As a result, it has been that the book focuses on the meaning of photography, as well as examining the relationship of photography with different branches of art. [ABSTRACT FROM AUTHOR]

Many valuable works have been created in the field of book arts, which is one of the most important founding elements of Islamic art. Korans, En’am-ı Şerîfs, prayer and forty hadith booklets, albums, scientific, literary, etc. works, which has been prepared in this context, played an important role in the development of the book arts. In this study, the illumination design analysis of the album recorded in the inventory numbered TSMK H. 2248, which was created in the field of book arts, will be analyzed. In the introduction part of the study, the reasons affecting the development of book arts are mentioned and information about the decorated parts of manuscripts, album and album production is given. Afterwards, the aforementioned album was described and the calligraphers with their kıt’as were introduced. In the following part, the illumination design analysis of each kıt’a was made. This analysis was carried out by bringing the visual and drawing of the design side by side. With the detailed drawings made, the pattern setup and motif details have become more evident. In the drawings, each of the decoration elements that make up the design is shown in a different color, thus making it easier to follow the pattern setup. The designs of the album, which are similar to the important works of the period in terms of decoration, are also discussed comparatively. [ABSTRACT FROM AUTHOR]

The article considers how the use of duplicates and the practice of photography interacted in museums of ethnography, contributing to the ambivalent framing of ethnographic objects as items that can be both scientific specimens and works of art. It focuses on the Musée d'ethnographie du Trocadéro in Paris and on the key period of its reorganization between 1928 and 1935, which was central to the institutionalization of French ethnology. By examining the place of duplicates in this museum, as well as the major role attributed to photographs of objects and their materiality, the paper shows that these others of the ethnographic artefacts, often considered separately from their originals, still participated in the same project: the development of the museum and its growing cultural influence. While the duplicates positioned the museum in the various networks of the scientific community, the photographs appealed to the avant-garde, amateurs, African and Oceanian art dealers and the general public. [ABSTRACT FROM AUTHOR]

However, the authors certainly unite to prove what the editor Tobias Nicklas declares: 'These texts should be the focus of more investigations in the study of ancient Christianity than has been the case so far' (p. 20). The active writing and editing of various Acts of the Apostles up through the fourth century sought 'to transport the characteristic attitudes [of triumph] back to the very beginnings of the Christian movement' (p. 2). [Extracted from the article]

Dodgson's photograph albums not only allowed him to control how and by whom his photographs would be viewed, but also, since he was a collector of photographs and photographed other artwork, provide an important context for his images. Given that Dodgson carefully controlled the access of his photographs to a limited group of friends when he displayed his photographic albums or gave away photographs, how were these photographs able to help develop the Victorian concept of childhood? Waggoner links Carroll's costumed photographs to the Victorian theater, which Carroll enjoyed, and the partially dressed and undressed photographs to Victorian fairy paintings. [Extracted from the article]

Ozaki Kōyō (1867-1903) has historically been treated as a classically oriented writer who rejected modern trends in literature. Recently, however, scholars have begun to reevaluate Kōyō's work by exploring connections between his literature and visual media, especially painting and photography. I show that Kōyō's relationship to photography went deeper than has previously been suggested, as the author contributed personally to the beginnings of art photography (geijutsu shashin) in Japan. As a writer, Kōyō built on his experience with a camera to explore intersections between photography and literature in terms of subject, style, framing, and the representational capacities of art. [ABSTRACT FROM AUTHOR]

Photojournalism uses images to tell stories and report events, while fine-art photography aims to express creative ideas and messages also through images. Although both fields express sociopolitical and religious ideas and reflect the past through pictures, they differ in approach. Photojournalism portrays events as they are using pictorial representations, without imputing the opinion of the journalist; fine art projects such events also pictorially, but from the vision of the artist. Thus both photojournalism and fine-art photography use photographs as a medium of expression. However, while photojournalism fosters a deep appreciation of works of art by projecting artistic images via communication media, which ultimately informs the psyche of the audience, fine-art photography expresses the emotions and viewpoints of the artist through photographs. This study, therefore, uses documentary evidence to determine the interface between photojournalism and fine-art photography. [ABSTRACT FROM AUTHOR]

The article focuses on several work of the artist Moyra Davey. Topics include examines Davey's Instagram account manifests a disdain for the hierarchies of the art world and notions of a kind of fetishized art photography, something Davey has steadily undermined with her insistently un-precious images that mark a fundamental disinterest in art world aura.

In order to improve the artistic expression effect of photographic images, this article combines the deep learning model to conduct multicamera photographic image art research in BERT motion. Moreover, this article analyzes the external parameter errors caused in the calibration process and uses the checkerboard in the common field of view to calibrate the spatial coordinates of the corners of the board in multiple camera coordinate systems. In addition, this article aims to match the spatial coordinates of the corresponding points to each other and solve the rotation and translation matrix in the transformation process. Finally, this article uses the LM algorithm to optimize the calibration parameters of the camera and combines the deep learning algorithm to perform image processing. The experimental research results show that the research method of multicamera photography image art in BERT motion based on the deep learning mode proposed in this article can effectively improve the expression effect of image art. [ABSTRACT FROM AUTHOR]

The article presents the discussion on portrait photography. Topics include long history of creative portraiture developing alongside the faster film technology contributing to the birth of photo-art practice and producing many iconic experimental portraits; and conveying the subject's identity, personality, or emotional state.

A recipe can function as a list of ingredients and instructions, a method of preserving traditions, and a historical record. These guidelines for cooking particular foods can reveal a longing for the past, using flavors and materials to conjure up memories of people and places, and a sense of possibility, suggesting the potential to achieve something that is currently out of reach. Cookbooks comprised of recipes written by incarcerated individuals work in all of these ways – simultaneously serving as reminders of the oppression people face in carceral spaces, demonstrating their ability to improvise, and reflecting their commitment to resist the State. In this paper, I examine incarcerated food writers' cookbooks, looking specifically at their content and design choices, including specific themes and topics, photographs and art, and types of food. By highlighting their personal experiences with cooking, eating, and writing, imprisoned individuals have begun to create a distinct culinary discourse. Their cookbooks and recipes operate as pedagogies of resistance that can be employed as tools to imagine abolitionist possibilities. Sharing these texts will amplify the voices of incarcerated food writers and foreground everyday moments of freedom building. [ABSTRACT FROM AUTHOR]

The recent flourishing of visual methods is not mirrored in studies of taste. This paper engages with photo elicitation (PE), which Bourdieu applied in Distinction, but never elaborated on. We conducted systematic photo-interviewing in arts, fiction and architecture. After reviewing the relevant literature, we highlight illustrative findings and discuss the potential of PE. In studies of taste, PE helps in bridging "social worlds", and can unveil class-based repertoires for understanding culture. It provides entry to tacit knowledge, and aids comparisons. Importantly, when two methods, PE and oral interviewing, are used in combination, this significantly helps substantiate our findings. [ABSTRACT FROM AUTHOR]

The surname Venucci was found at several locations during earlier research into church archives located in Rijeka. The Venucci family is presented in musical historiographical works only sporadically, but it has not been the subject of thorough elaboration. This paper presents an outline of the life and work of musicians and organists Remo (1903-1987) and Wilma (1905-1983) Venucci, and consequently, at least in brief, Remo's twin brother Romolo (1903-1976) and brother Abdon (1910 - around 1980). The legacy of the Venucci family is located in the family's private archive. The fund contains music scores (autographs, manuscripts, printed scores), musical instruments, concert programs, newspaper music reports, documentation, correspondence, photographs and works of art that testify to the position and importance of the Venucci family in the (musical) history of Rijeka. Remo and Wilma were born in the early 20th Century. Their father Antal Wnoucsek first moved from Hungary to Pula and then to Rijeka where he married Maria Ana Rostand, a Rijeka native of Slovenian French origin with whom he had six children. In the interwar period the family changed their surname Wnoucsek to the Italian version Venucci. The Venucci children received their first music lessons from their father and all of them were musically gifted. Their family home was often a place inclined to art and culture, like a private music salon, and a meeting place of important artists from Rijeka in the 20th century such as Guido Smareglia or members of the Tyberg family. Although Remo was a very important and recognized engineer in Rijeka, he also left a significant mark in church music, given that he was an organist for more than 60 years in all major churches in Rijeka. Remo studied music privately with Anselmo Canjuga and Gastone de Zuccoli. His position as the organist of the church of the Assumption of the Blessed Virgin Mary (Duomo) represents the continuity of Rijeka's organ tradition from the 19th century - from Venceslav Wenzel, through Ivan Zajc the Elder and then the Younger to Remo Venucci. In addition to the function of the Kapellmeister, he also repaired and electrified Rijeka's important organs, thus improving their technical aspects, which was not foreign to him as an engineer. He was involved in the purchase of the organ for the St Vitus' Cathedral and for the Salesians Church. Wilma Venucci was also the choirmaster and organist in various churches in Rijeka for about 30 years. Later she moved to Italy where she continued her music career. She studied music theory with Marcel Tyberg and then graduated in piano as a private student at the Jacopo Tomadini Conservatory in Udine. Wilma is even the composer of shorter church vocal works. While living in Rijeka, she worked as a pianist in the Società filarmonicodrammatica. Venucci, as an organizer of church music life, also collaborated with the Rijeka Opera Orchestra which, along with choirs, sometimes played during major ceremonies where they performed major musical works. The fact that the repertoire containing major works by European masters was performed in Rijeka shows that the level of performing excellence and amateur performance was very high, as well as demonstrating that the musical life of the city of Rijeka was generally quite distinguished in the 20th century. [ABSTRACT FROM AUTHOR]

The New Information and Communication Technologies (NICT) have affected all sectors of our daily life, including the art world, transgressing its frontier, not only technical and material, but also thematic and conceptual. The objective of this research aims to reflect on this fact, as well as to carry out a study of the digital instruments that are today at the service of art, with a special focus on the Internet and social networks in art (drawing, printmaking, photography, video, digital illustration, painting, and virtual sculpture). For this, a detailed ethnographic and analytical methodology is used on the subject in question, by studying authors such as Alcalá and Jarque, Belting or Valente and Adler, among others. One of the most outstanding conclusions reverts to the ability of current art to become more social and collective thanks to the new revolutionary paradigms of digital technology. [ABSTRACT FROM AUTHOR]

The main role of photography as an artistic medium in the art world. The relevance of art fairs. The role of the fine art photographer in the art world and his/her skills. The features of fine art photography today. The trends and the teaching of the photographic medium. Photography collecting and its evolution. Commercial art galleries as facilitators between photographers and collectors. [ABSTRACT FROM AUTHOR]

Michael "Nick" Nichols's 2012 portrait of the 3200-year old, 247-foot tall giant sequoia named the President, the second largest tree known, for National Geographic, comprised of 126 separate photographs which have been digitally combined to make one image, challenges cultural plant-blindness and confronts the ethics of representation of plants, in particular trees, when the images are printed on plant-based paper. Neither art nor scientific illustration, the photojournalistic image draws connections between trees and photography, and both individualizes the tree and metaphorically references the biocommunity in which it participates. Nichols's approach to the portrait, which recognized the intimacy between himself, his team, and the tree, draws attention to plant sentience. The materiality of the image, published as a fold-out poster printed on paper that includes tree content, has the capacity to alert the viewer to the ethics of plant representation. [ABSTRACT FROM AUTHOR]

Fear needs dealing with. Fear demands to be abated, countered or turned into something else, contributing and curtailing how we 'do' being human beings. This special issue of the European Journal of Cultural Studies addresses fear within media and popular culture, adopting a cultural studies approach to fear in a variety of socio-cultural and political contexts. A cultural studies approach allows us to enhance the horizon of understanding cultural practices, mediation and the subjective experience of fear as something we need to work through, in a process of recognition and shock, action and reaction, understanding and reflection. This focus on 'working through fear' offers new insights into the intensely subjective aspects of fear as it is creatively explored in representations within drama and documentary, photography and art, and in user-generated content, memes and political satire, and as it is embodied and experienced by people in the context of their realities. In addition, it shows how fear generates energy, anxiety and even desire. Rather than offering a generalizing account, this issue seeks to address fear in specific contexts, localities and from specific roles and perspectives. [ABSTRACT FROM AUTHOR]

On page 114 there is a small error in the picture credits which suggests that "People witness winter solstice sunrise at Dowth passage tomb"; this is incorrect, and should read "People witness winter solstice sunset". Beautifully illustrated throughout with images from Ken Williams, this chapter gives the reader a chance to visually appreciate the best that Irish tombs have to offer, through photographs of rock art and alignments in action. These are questions which are left unanswered at this stage in the book, although Silva in Chapter 2 provides an example of conclusions based on a single site, and it would have been interesting to see some discussion around this issue at this point. The winter solstice at Knockroe and the work of Muiris O'Sullivan are explored next, in Chapter 6. [Extracted from the article]

This article considers how the relatively new genre of migrant photography, "the migrant selfie," fits into the larger visual history of migrancy. From early UNHCR photography to contemporary representations of migration in the news and visual art, this paper traces the visual image of the migrant over time. It then draws on this history to contextualize selfies featured in Tomas van Houtryve's (2016–2017) video installation, Traces of Exile. [ABSTRACT FROM AUTHOR]

The growing importance of publishing art collections online has led to increasingly strict tolerances on digital photography of art objects. There are two internationally recognized sets of guidelines for creating high-quality digital images, Metamorfoze and FADGI. These guidelines require using sets of standardized color patches in museal photography. The X-Rite ColorChecker SG chart with 140 color patches is often used. Recent studies showed that even in standardized conditions it is often difficult to satisfy the strictest guidelines on color accuracy for camera profiling, with no indications for improvements. We report results of our investigation into the bottlenecks in achieving high color accuracy. We show that a large part of the color deviations originates from the 15 black color patches of the ColorChecker SG chart. These patches have a large impact on the average color deviation and the maximum color deviation that are the performance measures for color accuracy in the FADGI and Metamorfoze guidelines. We show that spectrophotometer measurements for the black patches produce color deviations dE(CIE 1976) ranging from 3.7 to 5.2 with respect to reference data, making it impossible to meet the strictest Metamorfoze guidelines. The black patches push the average color difference CIEDE2000 from 0.59 to 0.82 with respect to reference data already when using spectrophotometer data. Since the strictest FADGI guidelines prescribe an average CIEDE2000 = 2.0, this leaves little tolerance for errors due to lighting and camera profile. Our results indicate that the common practice of manually tweaking camera profiles until software suggests sufficient color accuracy is obtained with respect to suppliers' reference data often does not improve color representation but makes it worse, especially for representing dark nuances. This is unfortunate for example for the digital photography of seventeenth century Dutch paintings, where dark passages occupy large areas of the art works. We show that the key step in achieving color accurate digital photography is to use customer reference data rather than commonly used generic reference data. We explain the results by investigating not only the color properties of the ColorChecker SG chart, but also its glossiness. [ABSTRACT FROM AUTHOR]

This article explores innovations in photographic production and experimentation in Australia, especially Sydney, from 1935 to 1940. While many photographers and photographic societies were still promoting the aesthetics of Pictorialism, others were responding to new demands and opportunities provided by publishing, advertising, international expositions, local exhibitions and architecture. After introducing some of the forces for change, where there was often an easy exchange between photography and design, the article examines four case studies from 1937 to 1940. Three of these were generated by international expositions; all involved different types of photomurals and collaborations across the arts. These collaborations were instrumental in helping to shape Australian modernism and a postwar recovery within the arts. [ABSTRACT FROM AUTHOR]

This article contextualises Xing Danwen's role in creating the posed photography of Ma Liuming from 1993 to 1995, the canon of East Village performance art in China, and how this experience prompted her to reflect on gender issues in later works. I compare similar shots of performance work by Rong Rong and Xing Danwen and discuss the role of a gendered power structure in the making of a performance art canon. These images have been received as documentations, yet it was through dialogue with the camera and two genders that Ma and Xing developed their unique paths to performance art and conceptual photography in the 1990s. [ABSTRACT FROM AUTHOR]

The article reports that changing the attitudes of politicians and high-profile businesses and corporations towards replacing coal and gas with renewable energies is a challenge. Topics include involved in climate change engagement is important, as the many environmental problems engulfing the planet; and appears in hindsight to justify David Attenborough's warning that are heading to extinction producing his natural history programs.

The issue is accompanied by photographs from an art installation by architect Josef Pleskot in the saint Salvator Church in Prague. It presents a giant moving wooden pendulum placed in the middle of the church nave. The author presents the context of the challenging engineering installation given by the historical reminiscences of local Jesuit scholars of 17th and 18th centuries and their exploration of natural laws, the multi-layered symbolism of the pendulum in literature and culture as well as the immediate circumstances of the installation, prolonged by the covid-19 pandemic and the subsequent relocation of the pendulum to the Ostrava premises of Dolní Vítkovice and the multifunctional Gong auditorium. [ABSTRACT FROM AUTHOR]

Eugenijus Karpavičius (1953-2010) one of the most prominent Lithuanian book designers of the turn of the 20th century. He designed over 300 books from all over spectrum of genres: art and photography albums, catalogues, as well as books of poetry, essays, academic papers and textbooks. His books have won many awards in both Lithuanian and international book art competitions such as the Best Book Design from All Over the World, and were widely exhibited innternationally in book fairs and pavillions of the Lithuanian Publishers Association and the individual publishers. Throughout his 30 years of practice, Karpavičius remained faithful to the creative principle 'less is more'. In a way, this principle reflects the very essence of a book -- the oldest means of communication, a cultural object and a avaluable commodity. A book is about information and its transmission, therefore its main functions: informational, educational and aesthetic. Karpavičius understood those functions perfectly well and his works stand out as their masterful embodiments -- they all feature a distinct architectonic, structural logic, compositional clarity, harmony of text and image, and highly literate application of printing techniques. Karpavičius approach was minimalist, and he consciously avoided any unnecesary decorum. His artistic style is based around the 20th century's 'classical' principles of book design: clarity of both structure and overall composition, harmonious and logical layout of text and images, and expertise in printing technologies. However, his books are not devoid of spirituality -- the meticulousness of his designs gives away an overly emotional relation towards both text and image. Today laconic and functional design -- an alternative to the 'novelty' or even kitsch -- is undeservedly underrated. [ABSTRACT FROM AUTHOR]

There, over several years, Collins met and documented the practice of African American artists, who, like Purifoy, used found materials to make artwork for display outdoors. The desert in California was where artist and curator Hannah Collins first saw the sculptural assemblages of Noah Purifoy (1917-2004). It is this practice that formed the basis of the group exhibition I We Will Walk - Art and Resistance in the American South i at Turner Contemporary, Margate, which presented more than ninety works made between c. 1925 and 2018 by over twenty African American artists. [Extracted from the article]