Basics Of Photography Research Articles

PENGEMBANGAN BAHAN AJAR DIGITAL BERBASIS KOMPETENSI BERORIENTASI PRODUKSI PADA MATA KULIAH DASAR FOTOGRAFI MENGGUNAKAN APLIKASI SIGIL

Learning activities in the Fundamentals of Photography course which have been running so far have experienced several obstacles including the absence of teaching materials specifically designed to be effective, efficient, and attractive in learning. Some basic photography material should be carried out in practice, but in reality, it must be delivered in theory given the limited time and learning resources and the low learning outcomes and results of student creativity in the field of photography which does not meet the standards for completeness assessment. To overcome these problems, competence-based and production-oriented digital teaching materials are developed which are valid and suitable for use in learning activities as well as for student self-study. This research is a type of development research using the Dick and Carey model with the final product being a digital textbook developed with the help of the Sigil application. The approach used is a competency-based and production-oriented learning approach. Before testing D3 Multimedia Computer STT STIKMA Internasional student, validation was carried out on material experts and media experts, which were then corrected according to the expert's assessment. Data from the trial results during implementation activities in learning were analyzed using descriptive statistics and questionnaire calculations from respondents using criteria from the Likert scale. Indicators of success and feasibility of measuring digital teaching materials are assessed from the feasibility of content, presentation of content, language, graphics, and assessment at the end of learning activities. The results of validation by experts and trials on students show that basic digital photography teaching materials have the feasibility and validity to be used as a supplement in facilitating student learning and practicum learning while taking photography basics courses.

Development of Photography Interactive Learning Media at Politeknik Negeri Media Kreatif

The absence of intelligent sight and sound in learning photography at Politeknik Negeri Media Kreatif (Polimedia) is the foundation of this examination. In the conveyance of photography material encountered a few hindrances. One of the primary obstructions is the absence of clear and simple to-work learning media. Polimedia Photography Study Program is the object of exploration. The particular motivation behind this exploration is to foster supporting instruments for photography topic through intuitive learning media identified with photography, and to help understudies and teachers in learning photography so quality learning expanded adequately and learning destinations. This review utilizes the Multimedia Development Life Cycle (MDLC) technique with six phases, specifically: idea, plan, material assortment, gathering, testing, and conveyance. To create an intuitive Learning Media Photography requires 11 sorts of perspectives, to be specific intro & background pages, fundamental photography, structure, openness, aperture & depth of field, Camera Basics, External Flash Photography Basics, Lens Basics, Practical photography, Types of Photography, Photography Techniques. The subsequent intelligent learning media for Photography endures a couple of moments, which utilized for understudies as Photography learning materials

Using Photography to Explore Recovery Themes With Veterans

ABSTRACTThis author of this study examined if creating photographs to explore a recovery experience could be therapeutic. Veterans from multiple war periods, who were receiving outpatient mental health treatment, voluntarily enrolled in a six-week photography workshop. During the workshop, 31 veterans learned the basics of photography and discussed recovery challenges with peers. For the final class, participants created a six-image portfolio that visually expressed a personal recovery theme. Pre-and post, 10-item Likert scale questionnaires were completed in order to evaluate the benefits of the photography workshop. There was a statistically significant increase in the post test questionnaire score (+0.47 points, p = 0 .001). The findings support the hypothesis that taking photographs while in recovery can improve personal reflection and organization of thinking, as well as promote recovery discussions, communication, social support, and sense of purpose. Recovery themes included dealing with pain, isolation, growth, transformation, and healing.

Review: Vision Anew: The Lens and Screen Arts, edited by Adam Bell and Charles H. Traub

Vision Anew: The Lens and Screen Arts Edited by Adam Bell and Charles H. Traub University of California Press, 2015 292 pp./$34.95 (sb) Vision Anew: The Lens and Screen Arts was published before the November 8, 2016, United States electoral victory of Donald Trump, itself a media event, but after a profusion of other phenomena--including post-internet art (1); the exponential growth of Instagram, Pinterest, Facebook, and Google+ (advent of both ever-cheaper digital photo technologies and augmented reality); the increased availability of 3-D printing; the revelation of unprecedented spying and surveillance technologies by the National Security Agency; the widespread use of drones for warfare, information, and entertainment; and major advances in robotics and Artificial Intelligence that also impact media and media platforms. This host of august changes has often paradoxically stimulated a return to the art object, (2) witnessed in Vision Anew by some authors' probing of traditional values of photography (for instance, Gerry Badger's 2012 essay Keep it Simple Stupid, Just Make a Good Picture: The Basics of Photography). It has led others, such as Lev Manovich, to redefine the terms of the game, as when he writes: is no such thing as 'digital media.' There is only software--as applied to media data (or 'content') (206). [ILLUSTRATION OMITTED] The most obvious prompt for the essays in the book--which range from the historical (such as the opening mini-manifesto from 1961, Photography Is, by Arthur Siegel) to teasing out or proffering new generalizations, if not usually theoretizations, on this rapidly changing visual culture--is the omnipresence of digitally based images, and the nearly equal ubiquity of their use by all sorts of artistic practitioners, professional and nonprofessional alike. The overwhelming acceleration and accompanying logic of barrage (3) highlighted through digital culture, at least in countries like the US, intimate issues far beyond this--that the environment has shifted onto a different register technologically, formally, politically, logistically, ontologically, and demographically, in which once sufficient responses, especially in any realm of aesthetics, will no longer do. Art historian David Joselit had already pointed out years before the Trump debacle in his Feedback Manifesto (2010), As art marches in circles, politicians manipulate images more effectively than the legions of MFA graduates from prestigous schools like Art Center, Cal Arts, Columbia, and Yale (262). Commending the value of Susan Sontag's 1964 essay Against Interpretation (4) to avoid interpretation but rather settle on action or the contagion of gesture, Joselit recommended, among other things, Don't produce art or art history by making a 'new' move in the game of aesthetics you learned in school. Assess the image ecology you live in and respond to it. Learn the system and counter it--make noise. Practice eco-formalism (262). Yet Vision Anew is decidedly unprogrammatic, aided in this by the broad range and roles of its forty-plus contributors, whether primarily artists, educators, critics, journalists, or historians--and their points of view, which include the presentation of configurations from the past (Rebeca Solnit on Eadweard Muybridge, excerpts from Laszlo Moholy-Nagy's 1947 Vision in Motion, a 1968 Hollis Frampton lecture), and ones more current (Aaron Schuman's 2012 interview with Trevor Paglen on Machine-Seeing in his work). The reconsideration of medium provides some of the richest content in Vision Anew, whether this is treatment of the resurgence (23) of abstraction in photography (by co-editor Adam Bell), or reevaluation of the position of the photo book (Bell with Ofer Wohlberger and Jason Fulford) or of the changes wrought by HD (the co-editors Bell and Charles H. Traub with Bob Giraldi, Ethan David Kent, and Christopher Walters). …

Knowing what you know: improving metacomprehension and calibration accuracy in digital text

This paper presents results from an experimental study that examined embedded strategy prompts in digital text and their effects on calibration and metacomprehension accuracies. A sample population of 80 college undergraduates read a digital expository text on the basics of photography. The most robust treatment (mixed) read the text, generated a summary for each page of text, and then was prompted with a metacognitive strategy. The metacognitive treatment received metacognitive strategy prompts only, and the cognitive group implemented the cognitive strategy (summarization) only. A control group read the text with no embedded support. Groups were compared on measures of achievement, attitudes, cognitive load, and metacomprehension and calibration accuracy. Results indicated that a combination of embedded cognitive and metacognitive strategies in digital text improved learner achievement on application-level questions, yielded more accurate predictive calibration, and strengthened the relationship between metacomprehension and performance, all of which are common attributes of an academically successful learner.

Generative Learning Strategy Use and Self-Regulatory Prompting in Digital Text

The digital revolution is shifting print-based textbooks to digital text, and it has afforded the opportunity to incorporate meaningful learning strategies and otherwise separate metacognitive activities directly into these texts as embedded support. A sample of 89 undergraduates read a digital, expository text on the basics of photography. The treatment prompted the reader with selfregulatory questions and embedded a generative strategy, paraphrasing, and confirmed previous research on the relationships between prior knowledge and level of self-regulation on reading comprehension. A one-way between subjects ANOVA revealed significance for the level of self-regulation on comprehension-level items and for the level of prior knowledge on recall-level items. ANOVA also indicated that the quality of paraphrasing has a significant impact on recall-level and overall performance on the posttest. Further, participants were generally positive towards the instructional materials, which suggests willingness, and in some cases, preference, to reading in a digital format while experiencing embedded, metacognitive instructional interventions. It is recommended that comprehension may be enhanced by providing deeper training on the use of the generative strategy and by increasing motivation prior to interacting with the text in order to capitalize on the unique advantages of digital materials.

Developing Positive Negatives: Youth on the Edge Capture Images of Their Lives with Help from PhotoVoice

Children, Youth and Environments Vol 13, No.2 (2003) ISSN 1546-2250 Developing Positive Negatives: Youth on the Edge Capture Images of Their Lives with Help from PhotoVoice Miranda Gavin Citation: Gavin, Miranda. “Developing Positive Negatives: Youth on the Edge Capture Images of Their Lives with Help from PhotoVoice.” Children, Youth and Environments 13(2), 2003. Retrieved [date] from http://colorado.edu/journals/cye. Keywords: photography; street children; children's empowerment Using photography as a medium for self-expression, a tool for selfadvocacy and a way of empowering those on the fringes of society, London-based charity PhotoVoice aims to enable these groups to speak out about their lives through images and words, by providing in-field photojournalism in the context of development. For the charity's co-founders, Anna Blackman and Tiffany Fairey, both 27, the use of documentary photography is championed as a way of enabling “those who have traditionally been the subject of such work, to become its creator.” Originating in 1998, as part of their academic fieldwork for a masters degree in social anthropology, the pair set up what have now become the charity's founding photography projects, Street Vision in Vietnam and the Rose Class in Nepal. Fairey set up a photography, art and writing project, the Rose Class, in a Bhutanese refugee camp, Beldangi II- one of seven in eastern Nepal- where she taught the youngsters the basics of photography using donated single-lens reflex and automatic cameras. The project gave 30 young people, aged between 15 and 17 years, an opportunity to express themselves in new and creative ways. With no electricity or running water in the camp, she had the films processed by a nearby lab. 255 Meanwhile in Vietnam, Blackman faced different problems. Working with street and working children to raise awareness of their lives and using an assortment of used and new camera equipment, she had to find translators and spaces from which to work, and she had to deal with Vietnamese bureaucracy in realizing Street Vision. Since then, the project has trained more than 120 young people in photography and continues to run annual beginners' and advanced photography courses. The program is now managed by a local NGO, The Ho Chi Minh Child Welfare Foundation. Although Fairey and Blackman were working independently at the time, they discovered that, as well as using similar working methodologies, they also shared a belief in the potential of photography as a means of understanding different cultures. Later, in a bar in Perpignan, France, where they were both attending the annual photojournalism festival, Visa pour l'image 1999, they cemented their partnership and decided to establish a non-profit organization. A year later, they founded PhotoVoice. In 2001, Blackman headed to Kinshasa, Democratic Republic of Congo, where she was funded by Christian Aid, to teach 15 HIVpositive women the basics of photography. Over a period of four weeks, she worked with a local, non-profit organization and Christian Aid partner, Fondation Femme Plus (FFP) to enable these women- most of them widows- to openly document their experience of living with HIV in a developing country. Using point-and-shoot cameras, they began to record their daily lives and struggles. Blackman later returned to Kinshasa, to work with six of the original participants on a further project, Positive Negatives, which made its way to London's Africa Centre. Blackman and Fairey now manage six PhotoVoice projects around the world. Last year, the group's Transparency project gave a group of young refugees, aged between 12 and 18, from countries including Afghanistan, Angola, Iraq, Romania, Rwanda and Sierra Leone, the opportunity to express themselves through photography. Working from a community center in east London, the project ran over a three-month period and culminated in a well-received exhibition at the Spitz Gallery, London. Since then, Transparency 256 has toured nationally and one member of the group has gone on to study photography full-time and has secured commissions by the BBC. Another participant was a finalist in a national self-portraiture competition, featured on Channel 4 and exhibited in London's National Portrait Gallery. Working alongside both international organizations and local partners, PhotoVoice takes a...

Home/Life: 121 Kids from 11 Cities Photograph Their World

Children, Youth and Environments Vol. 13 No. 2 (2003) ISSN: 1546-2250 Home/Life: 121 Kids from 11 Cities Photograph Their World Asbeck, Geert van and Bierens, Frank and Kuypers, Christiaan (2002). Amsterdam: Homeless World Foundation; 280 pages. $17.00. ISBN 9077180028. In Remembering Babylon, David Maloufwrites the story of Gemmy Fairley, a 13-year-old boy who, in themid-1840s, is cast ashore in the far north of Australia and taken in byaborigines. Sixteen years later, when settlers reach the area andstake out a patch of home, he moves back into the world of Europeans.In his initial contact, the apprehensive youth calls out from atop afence: “Do not shoot, I am a B-b-british object”! His utterance isappropriately symbolic, made from a liminal position, at the edge of apaddock. It is also strikingly accurate in denoting the treatment of amarginalized population as objects, deprived of the rights accorded tocitizens. Street children, too, have long been treated as objects, involvinga range of ill-considered approaches the most egregious of which havebeen the mass shootings ofbesprizornikiat Russian railway stations in the 1930s and the widely publicizedmurders of street children in Brazil and Honduras in more recent years.However, wellintentioned approaches have also often dealt with streetchildren as objects- objects in need of proper socialization, medicalcare, nutrition, protection, etc., dispensed by benevolists inpossession of medicines, food, power, knowledge and other resources. In the wake of the adoption of the Convention on the Rights ofthe Child by the United Nations General Assembly in 1989, and itssubsequent ratification by all but two countries, street children havebecome more recognized as actors in their own right, with entitlementsand potentials to affect their situation. Volume 13, no. 1, of Children, Youth and Environmentsfeatured a special focus on street children, comprising 20 papers thatoffer examples of this 166 emerging “agency perspective.” The current issueof this journal also reproduces recent publications that similarlyattest to the abilities of children to be proactive and underline thesignificance of policies and programs that support their abilities.[1] Home/Life is an initiative by the Homeless World Foundation,which, in collaboration with local organizations, set up a series ofworkshops in 11 cities around the world: Africa (Cairo, Johannesburg,Nairobi), Asia (Jakarta, New Delhi), Eastern Europe (Budapest, Moscow),Europe (Paris, Rotterdam), South America (Paramaribo), and NorthAmerica (New York). In each case, professional photographers instructedup to 20 street children in the basics of photography. The children,averaging 13 years in age, were given cameras and film to capture theirdaily lives and document the world around them. Their work resulted in15,000 images from which the editors selected 150 photos to be includedin the book and in an exhibit touring the cities of the participatingchildren. The project is also presented in a web site designed by NairoBits, a program that trains youths from the slums in Nairobi in web design. The book starts with a brief editorial preface and a short commentaryby Anne Ellegood, associate curator of the New Museum of ContemporaryArt in New York. Several pages of thematic photo galleries then leadinto the bulk of the material, organized in alphabetical order by city.Concise but useful introductions precede these sections, giving somebackground on the cities and the participating children, although onewishes that these introductions had been elaborated a bit more tocreate a better sense of context. The book concludes with individualportraits of the child photographers, accompanied by briefautobiographic notes dictated to the workshop coordinators. After making their selection, Home/Life staff returnedto the 11 cities where they managed to re-contact most of the childrento talk about their photos and to provide captions for them. Each childalso received a copy of the book. Proceeds of the book benefit theHomeless World Foundation, which sets up and supports media projectsfor underprivileged children around the world with the goal 167 of enablingthem to express themselves, develop their creative skills, and gainconfidence in their own abilities. Street children spend a great deal of time in the streets andother public spaces. Aside from this commonality, they may share littleelse in what they do, their reasons for doing what they do, with whomthey live, where they come from, their hopes for the future, and manyother aspects of their lives. It...

The digital darkroom, part 2: Digital photography basics

We summarize here the second part of a 3-part series on the digital darkroom. In this part, we review the basics of digital photography, including (1) the variables in image capture, processing, and storage that affect picture quality and (2) the various types of digital cameras currently available. The full text of the complete series, including expanded illustrative material and complete bibliographic documentation, is now available on our journal Web site at . Please see page 476 for instructions on how to access Aesthetic Surgery Journal Online and view the entire series.

The digital darkroom, part 2: Digital photography basics

In Part 2 of this series, we review the basics of digital photography, including the common components of digital cameras; the variables affecting image capture, processing and storage that affect picture quality; and the various types of digital cameras currently available.

Photography Basics

Photography Basics

Basics of photography in veterinary practice.

In PracticeVolume 8, Issue 3 p. 101-109 General Practice Basics of photography in veterinary practice David Gunn, David GunnSearch for more papers by this author David Gunn, David GunnSearch for more papers by this author First published: 01 May 1986 https://doi.org/10.1136/inpract.8.3.101AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume8, Issue3May 1986Pages 101-109 RelatedInformation