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

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] Este trabajo de fin de grado tiene como objetivo la realización de un libro ilustrado en el que se empleen técnicas gráficas y fotográficas con la idea de explorar mi propia visión de las ciencias esotéricas. Es decir, hacer mi propia representación a partir de la simbología clásica del tarot. El proyecto parte de fotografías personales manipuladas e ilustraciones digitales sobre la base de la iconografía clásica., [EN] This project is aimed in the producction of an illustrated book in which graphic and photographic techniques are used with the idea of exploring my own vision of esoteric sciences. In other words, making personal representation based on the classic tarot symbology. The project come to life throught use of techniques like: altered personal photographies and digital illustrations theam on classical iconography.

[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.

International audience; The exhibition entitled ‘Manger à l’oeil’ in French (meaning to get a free meal) and called ‘Say cheese!’ in English was presented at the Museum of European and Mediterranean Civilisations (MuCEM), in Marseilles, from 20 July to 30 September 2018. It told the story, in pictures, of two hundred years of table practices in France. It reported on the evolution of the gastronomic meal of the French which was put on UNESCO’s representative list of the intangible cultural heritage in 2010. Photography, as a medium, was chosen for its ability to capture the present moment and to highlight changes in ways of consuming. The MuCEM exhibition is analysed here from a communicational point of view, based on information and communication sciences and museology. The exhibition suggests a definition of the French gastronomic meal as a unifying and evolving phenomenon, intimately linked to social changes. The aesthetic form of the exhibition, including its scenography and the choice of the objects presented, contributes to legitimising the identification of the French gastronomic meal as heritage for a large audience. This consensual exhibition plays its part in an overall policy of promoting the food heritage.; L’exposition « Manger à l’œil » a été présentée au musée des Civilisations de l’Europe et de la Méditerranée (MuCEM), à Marseille, du 20 juillet au 30 septembre 2018. Elle retrace deux cents ans de pratiques de table à l’aide de photographies et rend compte de l’évolution du repas gastronomique français, inscrit sur la liste représentative du patrimoine culturel immatériel de l’humanité de l’Unesco en 2010. Le médium photographique a été choisi pour son habileté à capter l’instant présent et l’éphémère des consommations et manières de table sur la longue durée. Cette exposition est ainsi analysée à travers une perspective communicationnelle, ancrée en sciences de l’information et de la communication et en muséologie, afin de montrer comment les photographies choisies définissent ensemble un modèle de « repas gastronomique ». Ainsi, l’exposition suggère une définition du repas français, fédérateur, évolutif et intimement lié aux évolutions sociales. La construction du parcours de visite, le choix des expôts tout autant que la scénographie contribuent à patrimonialiser le repas gastronomique des Français et à en transmettre les clés au plus grand nombre. Dès lors, l’exposition se fait consensuelle et s’inscrit dans une politique globale de valorisation du patrimoine alimentaire.

L’exposition « Manger à l’œil » a été présentée au musée des Civilisations de l’Europe et de la Méditerranée (MuCEM), à Marseille, du 20 juillet au 30 septembre 2018. Elle retrace deux cents ans de pratiques de table à l’aide de photographies et rend compte de l’évolution du repas gastronomique français, inscrit sur la liste représentative du patrimoine culturel immatériel de l’humanité de l’Unesco en 2010. Le médium photographique a été choisi pour son habileté à capter l’instant présent et l’éphémère des consommations et manières de table sur la longue durée. Cette exposition est ainsi analysée à travers une perspective communicationnelle, ancrée en sciences de l’information et de la communication et en muséologie, afin de montrer comment les photographies choisies définissent ensemble un modèle de « repas gastronomique ». Ainsi, l’exposition suggère une définition du repas français, fédérateur, évolutif et intimement lié aux évolutions sociales. La construction du parcours de visite, le choix des expôts tout autant que la scénographie contribuent à patrimonialiser le repas gastronomique des Français et à en transmettre les clés au plus grand nombre. Dès lors, l’exposition se fait consensuelle et s’inscrit dans une politique globale de valorisation du patrimoine alimentaire. The exhibition entitled ‘Manger à l’oeil’ in French (meaning to get a free meal) and called ‘Say cheese!’ in English was presented at the Museum of European and Mediterranean Civilisations (MuCEM), in Marseilles, from 20 July to 30 September 2018. It told the story, in pictures, of two hundred years of table practices in France. It reported on the evolution of the gastronomic meal of the French which was put on UNESCO’s representative list of the intangible cultural heritage in 2010. Photography, as a medium, was chosen for its ability to capture the present moment and to highlight changes in ways of consuming. The MuCEM exhibition is analysed here from a communicational point of view, based on information and communication sciences and museology. The exhibition suggests a definition of the French gastronomic meal as a unifying and evolving phenomenon, intimately linked to social changes. The aesthetic form of the exhibition, including its scenography and the choice of the objects presented, contributes to legitimising the identification of the French gastronomic meal as heritage for a large audience. This consensual exhibition plays its part in an overall policy of promoting the food heritage.

An analogue photography is indexical, a digital photography is too – just different. And analogue photos are not just as any other analogue photos, so as there are different types of digital photographs. For the indexicality of photography, however, it is not so important whether the photo is analogue or digital – in most cases only the final image is of actual interest. But if one looks at the different forms of acquisition of 'photographic traces', one notices that the way how they are indexical differs and that they can be divided into more than two categories. This text will deal with the question of the extent to which different manifestations of the index occur in different forms of photographic recording. The text will look at analogue recording methods, such as negative/positive printing methods, direct positive printing methods, Gum bichromate and Polaroid, as well as digital recordings. It is to be shown that different recordings also result in different materiality, which ultimately also includes the question of how much materiality is required for a photo to become a photography and, eventually, what is needed for an index to be an index. Or in a nutshell: It should no longer simply be asked what an index is, but – with regard to various photographic techniques – what is the index like?

[ES] En este trabajo, he querido reflejar un tema que, para mí, es bastante importante en mi día a día. El tiempo es algo que nos aterra a la gran parte de los seres humanos y, sobre todo, a mí. Es relativo, contradictorio y juguetón. Pocas dimensiones pueden llegar a ser tan subjetivas y a la vez tan confusas. Mi intención es reflejar el paso del tiempo y su instantaneidad en un libro de artista en el que el rostro será el protagonista sobre el paso del tiempo, utilizando técnicas fotográficas aplicadas a la gráfica. En esas ocasiones en que estamos disfrutando de una grata compañía o atravesando un momento dulce y bueno en nuestra vida, el paso del tiempo es tan rápido que apenas somos conscientes de las horas, de los días¿ o incluso de los años. Sin embargo, cuando atravesamos estados de tristeza, desánimo o incluso depresiones, el tiempo pasa con especial lentitud. No hay mejor manera de observarlo que en los rostros de los humanos. Somos como espejos en los cuales reflejamos nuestros estados de ánimo con tanta facilidad que dejamos a flor de piel nuestros sentimientos y deseos., [EN] Time is something that terrifies most human beings. It is relative, contradictory and playful. Few dimensions can become so subjective and at the same time so confusing. My intention is to reflect the passage of time and its instantaneity in an artist's book in which the face will be the protagonist over time, using photographic techniques applied to graphics. On those occasions when we are enjoying a pleasant company or going through a sweet and good time in our lives, the passage of time is so fast that we are hardly aware of the hours, the days ... or even the years. However, when we go through states of sadness, discouragement or even depressions, time passes with special slowness. There is no better way to observe it than in the faces of humans. We are like mirrors in which we reflect our moods so easily that we leave our feelings and desires to the surface.

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.

The characterization of the conservation status of photographic materials is usually assessed through visual analysis or optical microscopy. However, a small percentage of these materials cannot be completely characterized by the simple visual-optical inspection and needs a more quantitative investigation. In this contribution, a survey of photographic literature, in particular Italian manuals and periodicals published around 1890–1910, is a primary source. In order to get to a better comprehension of this subject, we adopted a characterization procedure relying both on the analysis of the photographs’ materials and on the knowledge of the techniques and the materials used. Micro-invasive and non-invasive investigations were performed and evaluated in order to understand the chemical and physical degradation processes of photographs from the period around the end of the nineteenth century. We studied two sets of photographs obtained with different techniques but stored under the same environmental conditions. The two sets showed different degradation processes that can be easily attributed to the different photographic techniques used.

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.

Tutkimuksessa kuvataan uusien havainnollistamistekniikoiden kehittymistä ja kokeillaan niitä yhdyskuntasuunnittelun tehtäviin käyttäen vaihtoehtoisia teknisiä ratkaisuja. Tarkasteltavina ovat lähinnä videoilmakuvaus, erilaiset kuvasovitetekniikat ja kuvankäsittelyn mahdollisuudet. Tavoitteena on myös perspektiivisten sovitekuvien oikeellisuuden varmistaminen ja kuvien laadun parantaminen. Tutkimukseen liittyy viisi kokeilua, joissa kaikissa käytetään hyväksi videokuvausta. Tuusulantien suunnittelua palvelevaan kokeiluun sisältyy myös asiakaspalaute. Kiinnostavimpana uutena havainnollistamistekniikkana voidaan tutkimuksen perusteella pitää kuvankäsittelyä ja -muodostusta mikropohjaisilla videografiikkajärjestelmillä, joissa on videosyöttö ja -tallennus. Järjestelmät sopivat luonnostelevaan piirtämiseen ja erilaisten muutostoimenpiteiden havainnollistamiseen lähtötilanteen video- tai valokuvan toimiessa kuvarunkona. Lisämahdollisuuksia luo CAD-järjestelmien ja videografiikkajärjestelmien integrointi. Tekniikan käyttö vaatii jatkossa, että kehitetään kuvapankkeja, joihin tallennetaan muun muassa kasvillisuutta; tämän kuvaaminen on CAD-ohjelmissa ollut varsin puutteellista.

Tutkimuksessa kuvataan uusien havainnollistamistekniikoiden kehittymistä ja kokeillaan niitä yhdyskuntasuunnittelun tehtäviin käyttäen vaihtoehtoisia teknisiä ratkaisuja. Tarkasteltavina ovat lähinnä videoilmakuvaus, erilaiset kuvasovitetekniikat ja kuvankäsittelyn mahdollisuudet. Tavoitteena on myös perspektiivisten sovitekuvien oikeellisuuden varmistaminen ja kuvien laadun parantaminen. Tutkimukseen liittyy viisi kokeilua, joissa kaikissa käytetään hyväksi videokuvausta. Tuusulantien suunnittelua palvelevaan kokeiluun sisältyy myös asiakaspalaute. Kiinnostavimpana uutena havainnollistamistekniikkana voidaan tutkimuksen perusteella pitää kuvankäsittelyä ja -muodostusta mikropohjaisilla videografiikkajärjestelmillä, joissa on videosyöttö ja -tallennus. Järjestelmät sopivat luonnostelevaan piirtämiseen ja erilaisten muutostoimenpiteiden havainnollistamiseen lähtötilanteen video- tai valokuvan toimiessa kuvarunkona. Lisämahdollisuuksia luo CAD-järjestelmien ja videografiikkajärjestelmien integrointi. Tekniikan käyttö vaatii jatkossa, että kehitetään kuvapankkeja, joihin tallennetaan muun muassa kasvillisuutta; tämän kuvaaminen on CAD-ohjelmissa ollut varsin puutteellista.