Landscape Photography Research Articles

Monument Valley, Instagram, and the Closed Circle of Representation

Monument Valley, Instagram, and the Closed Circle of Representation

EEG 신호 정확도 향상을 위한 시뮬레이션 소프트웨어 개발

본 논문에서는 EEG 신호 기반 기기 또는 소프트웨어를 사용하기 위해 사용자가 본인의 EEG 신호 정확도를 확인하고, 훈련을 통하여 자신의 EEG 신호 정확도를 향상시킬 수 있는 시뮬레이션 소프트웨어를 제안한다. 실험 데이터로는 풍경사진을 보며 편안한 상태에서 발생되는 신호와 수학문제를 풀며 집중 시에 발생되는 신호를 사용한다. 입력되는 EEG 신호는 독립 성분 분석(Independent Component Analysis, ICA)을 적용하여 잡음을 최소화하고 대역 통과 필터(Band Pass Filter)를 통하여 베타파(<TEX>${\beta}$</TEX>, 14-30Hz)만을 취득한다. 취득한 베타파 대역 데이터에서 제곱평균제곱근(Root Mean Square, RMS) 알고리즘을 통하여 특징 정보를 추출하고 지지 벡터 머신(Support Vector Machine, SVM)에 적용하여 분류한다. 분류된 결과는 사용자가 바로 확인할 수 있으며 훈련 전 피험자의 평균 정확도는 79.21%이었던 반면, 연속적인 훈련으로 최고 91.67%의 정확도를 보였다. 이처럼 본 논문에서 개발한 시뮬레이션 소프트웨어는 사용자가 직접 자신의 EEG 신호 정확도를 향상키기는 훈련을 통하여 정확도 향상이 가능하고, EEG 신호 기반으로 이루어진 BCI 시스템의 효율적인 사용을 기대할 수 있다. In this paper, we introduce our simulation software for EEG signal accuracy improvement. Users can check and train own EEG signal accuracy using our simulation software. Subjects were shown emotional imagination condition with landscape photography and logical imagination condition with a mathematical problem to subject. We use that EEG signal data, and apply Independent Component Analysis algorithm for noise removal. So we can have beta waves(<TEX>${\beta}$</TEX>, 14-30Hz) data through Band Pass Filter. We extract feature using Root Mean Square algorithm and That features are classified through Support Vector Machine. The classification result is 78.21% before EEG signal accuracy improvement training. but after successive training, the result is 91.67%. So user can improve own EEG signal accuracy using our simulation software. And we are expecting efficient use of BCI system based EEG signal.

Capturing the Italian townscape: from the beginnings of Italian landscape photography to the anti-idyllic images of Ivor and Ivy de Wolfe

This paper focusses on the photographic illustrations which appeared in a very odd book published in 1963: The Italian Townscape. Its author, curiously named Ivor de Wolfe on the front cover, was in fact Hubert de Cronin Hastings, a major figure in architectural publishing. The photographs were taken mainly by Ivy de Wolfe (another pseudonym), in reality Hastings's wife, Hazel. Fifty years later, Erdem Erten and Alan Powers, as editors, published a new edition, aimed at the general public. In their brilliant introductory essay the topic of photography is considered with a light touch. In the same period, Robert Elwall had spent time and energy revaluating the images and the photographers. In his article entitled ‘Road show’ (RIBA Journal, June, 2005) and during a speech at the Retrospective Symposium on The Architectural Review's Townscape Campaign (22nd July, 2011), Elwall discussed the visual approach to urbanism as a hallmark of the Italian planning stance towards historical towns. Images of Sabbioneta, Padua and Loreto were among the examples considered.The process of touring Italy with a camera after the Townscape debates in the 1950s persuaded Hazel Hastings to suggest an uncommon idea of the Italian cultural landscape, a new appreciation of both historical and contemporary vernacular elements of the built environment, and a tension between the understanding of pedestrian and vehicular urban scales. In introducing some of these themes, my paper will draw on a range of evidence from visual echoes, to shared language, to occasional statements on the subject by Italian photographers and town planners.

Análise e indexação da paisagem: o Arquivo Fotográfico Ilustrativo dos Trabalhos Geográficos de Campo do Instituto Brasileiro de Geografia e Estatística

Resumo O propósito desta pesquisa é abordar a análise e a indexação de paisagens da vida rural tendo por referência o Arquivo Fotográfico Ilustrativo dos Trabalhos Geográficos de Campo, do Instituto Brasileiro de Geografia e Estatística, cujas fotografias foram produzidas pelos geógrafos agrários do então Conselho Nacional de Geografia, entre os anos de 1940 e 1960. Trata-se de uma pesquisa exploratória que aborda a informação geográfica no âmbito da Ciência da Informação voltada para a organização e a representação do conhecimento registrado no processo de transferência da informação. Partindo de estudos sobre a paisagem levantados na literatura de Geografia e conjugado com a bibliografia das áreas de Arquivologia, Biblioteconomia, Ciência da Informação e História, buscou-se identificar conceitos e categorias que subsidiaram a proposta de uma matriz para análise e indexação de fotografias de paisagens. Os conjuntos fotográficos selecionados do acervo para o experimento referem-se às regiões brasileiras Nordeste e Sul, de acordo com a primeira divisão oficial proposta pelo Conselho Nacional de Geografia em 1941.

Fotografi Urban Landscape Dengan Objek Hiburan Alternatif Di Yogyakarta

Nowadays urban landscape has been in the talks of the people. Basically, urban landscapephotography is not a novelty, because it has similarity in the techniques with streetphotography. The urban landscape photography captures object and moment in thescope of a cityscape or urban life. The street photography technique is considered as asimple method to capture all that happens within an urban setting. With using alternativeentertainment as objects in the urban landscape photography, the photographer triesto express simplicity that is felt spontaneous but carry information or messages for theaudiences. Other sides of urban life in the big city have so many interesting things thatcan be expressed using photography.

FOTOGRAFI URBAN LANDSCAPE DENGAN MENGGUNAKAN KAMERA LOMO

Urban landscape photography is not a new thing in photography. It’s similar with temple or street photography, only that the objects in focus are in urban regions. By using lomography camera the urban landscapes are caputered in special manners that new, extraordinary images appear. They are like unnatural colour, fish eye effects, and others.Keywords: Urban landscape, Lomography

Dirt Meridian by Andrew Moore

Reviewed by: Dirt Meridian by Andrew Moore Amanda Breitbach Dirt Meridian. Photographs by Andrew Moore. Bologna, Italy: Damiani Publishers, 2015. 132 pp. $50.00 cloth. Aerial photographs tend to make any landscape more abstract, and usually more distant. But that is not the case in Dirt Meridian, a new book by photographer Andrew Moore. Moore brings a tender perspective to his images of the American landscape along the one hundredth meridian, often considered the dividing line between fertile east and arid west. Dwelling in the seldom-pictured heart of the Great Plains, a region sometimes called “flyover country,” Moore sensitively captures a vast, open land marked by a history of human use. Romantic views of stock ponds illuminated by golden light and cattlemen on horseback are balanced by images of crumbling homesteads, munitions storage bunkers, and barracks-style housing for oil-field workers. From a hawk’s-eye view, he shows us both the West of our imagination and the West that is. Back on the ground, carefully framed portraits and interiors fill in a complicated story about people and place. The book reproduces seventy-two of Moore’s photographs, beautifully printed and accompanied by several thoughtful essays. Kent Haruf (late author of Plainsong) sets a contemplative, loving tone in the preface, writing of the Plains landscape, “It may not be pretty, but it’s beautiful if you know how to look at it.” An essay by Toby Jurovics, chief curator at the Joslyn Art Museum in Omaha, places Moore in a lineage from the early survey photographers up through Robert Adams and Emmett Gowin, artists who helped redefine landscape photography by bringing human impact to the forefront. A second essay by Inara Verzemnieks, an assistant professor of English at the University of Iowa, serves as a written companion to the images, telling emotional stories of many of the people and places pictured and off ering us context. Moore’s photographs give us an appreciation for the scale of the Plains landscape and a sense of perspective: people are small here. Images of abandoned schoolhouses and isolated windmills help us understand the tenuous [End Page 338] nature of agriculture in the region and the potential for human failure, while photographs of pipelines, gravel pits, and broken pivots reveal an economy dependent on extracting and exploiting natural resources. Together with these foreboding elements, Moore also gives us hope for the future. Portraits of young people raised on Plains ranches and grazing bison seem to point to a way forward. His book is an honest and unblinking document of the American Great Plains, full of quiet beauty, heartbreak, and hope. Amanda Breitbach Department of Art Truman State University Copyright © 2016 Center for Great Plains Studies, University of Nebraska–Lincoln

Otomasi Trigger dengan Penentuan Sudut dalam Foto Panorama Berbasis Arduino Uno

AbstrakDalam pemotretan panorama diperlukan alat bantuyang dapat menentukan besar pergeseran arah kamera secara konsisten agar diperoleh foto-foto yang pas tanpa ada bagian yang hilang karena tidak terfoto. Dengan didapatnya foto yang saling tersambung maka dapat dilakukan penggabungan foto untuk menjadi sebuah foto panorama. Penggabungan foto-foto hasil pemotretan dapat dilakukan dengan cara image stiching (menjahit), yaitu menyambung foto-foto hasil pemotretan dari satu titik tetap.Alat yang dirancang merupakan alat yang otomatis menentukan besar sudut perputaran head kamera dengan input jumlah pergeseran dan akan melakukan pemotretan (triggering) bila sudut sudah sesuai dengan input. Pengujian sistem meliputi pengujian variasi jumlah pergeseran menggunakan satu nilai focal length dengan memvariasikan nilai pan dan tilt. Pengujian ketelitian konsistensi pergeseran dan arah kamera. Pengujian besar perpotongan setiap pergeseran dengan menggabungkan 2 foto yang sejajar kemudian dicari seberapa besar irisan yang dihasilkan.Berdasarkan pengujian menggunakan kamera DSLR diperoleh hasil alat dapat bekerja dengan baik secara otomatis berdasarkan nilai input pan dan tilt serta dapat melakukan triggering. Pergeseran efisien diperoleh pada nilai pan sebanyak 9 kali dan tilt 4 kali menggunakan lensa dengan focal length 18 mm. Hasil analisa tingkat kesalahan pergeseran bernilai kurang dari 3% yang menjadikan alat ini stabil dan konsisten dalam pergerakannya. Kata kunci—foto panorama, Arduino Uno, otomasi, fotografi AbstractIn landscape photography, some supporting devices are needed to assign how much the camera’s shifting consistently is. It is needed to get good photos without any blank spot photos. The linked photos could be rendered to be a landscape photo using a photography software. It is could be done by image stiching, a way to stich photos taken from one constant taking point. The device is an automatic device which could assign how much the rotation degree of the camera’s head with given input, how much the shift is. It will take a shot if the rotation degree is appropriate with the given input. The system testing by variying the shift value of camera using one focal length value. The accuration test of the consistency of camera’s shift and camera’s direction. The error value could be determined by joining two parallel photo.According to the testing, tool can work automatically and also trigering can do well. Efficient shift in the number of photos and good results using the pan 9 times and tilt 4 times. The results of the error rates shift analysis have value less than 3% and that makes the tool quite stable and consistent in its movements. Keywords— panoramic photo, arduino uno, automation ,photography.

Nature as Spectacle: Photographic Representations of Nature in Early Twentieth-Century Korea

At the turn of the twentieth century, landscape photography began to emerge as a new way to represent nature in Korea. Landscape photographs of the Korean peninsula were printed in modern media, such as the daily newspaper Maeilsinbo, the public cultural magazine Cheongchun, and picture postcards. This article explores the photographic representation of nature in Korea in the 1910s. Landscape images of the period were rooted in the visual regime of the camera obscura, and they often borrowed techniques and themes from Korean traditional landscape painting, or sansuhwa. The photographic medium was important in shaping new perceptions, aesthetic experiences, and discourses on nature. This article examines several categories of landscape photography, including images of scenic and historical places, idyllic and bucolic scenes, and urban parks. These categories were common in Korean western-style landscape painting and art photography of the 1920s, and continue to be seen to this day in Korean visual culture.

The Allegorical Landscape: Lang Jingshan's Photography in Context

Abstract This paper examines Lang Jingshan's landscape photography in its historical and political contexts. Tracing Lang's oeuvre from Shanghai to Chongqing to Taiwan, it also studies how the pictures were commissioned, made, and perceived. I argue that Lang's photographic art, often considered to be unoriginal and conservative or utopian escapism removed from reality, has in fact engaged with the political and historical turmoil of the times.

Landscape Photography, Geographic Education, and Nation‐Building In Democratic Kampuchea, 1975–1979

On April 17, 1975, Phnom Penh, the capital of Cambodia, fell to the armed forces of the Communist Party of Kampuchea (). Cambodia, however, was not primed for revolution. This is significant in that it contributed to specific postconflict policies and programs initiated by the , including the promotion of geographic education and the use of propaganda photographs. In this article we examine six photographs produced during the Khmer Rouge era. Our main thesis is that when viewing these photographs, we are witnessing the photographic production of a nationalist landscape. As geographers have argued, photographs are inauthentic from the standpoint of “truthful” representations. However, the photographs produced by the are authentic simulacra in their “truthful” representation of how the envisioned both the revolution and subsequent administration of Democratic Kampuchea. In so doing, our research is positioned within a longer tradition of cultural‐political geography that has examined the use of landscape photographs as political instruments used in nation‐building.

Invisible Communities and Their Visible Cameras: The Landscape Photography of the Chinese Camera Club of South Africa

The Chinese Camera Club of South Africa (CCCSA), sometimes known as the Chinese Camera Club of Johannesburg, was a group of Chinese South African photographers who were at their most active during the 1950s and 1960s. Despite their small numbers and the discrimination and exclusion they suffered as Chinese South Africans, this group of tenacious and dedicated photographers achieved success and recognition in photographic networks at home and abroad. I will concentrate on one aspect of their output—namely, landscape photography—to argue that individual members of the CCCSA used photography to visualize a sense of belonging to both China and South Africa.1 By giving visual expression to multiple configurations of identity, which were simultaneously local and international, club members actively contested their treatment by the apartheid state. In particular, I consider how members of the club photographed the South African landscape in ways which drew on conventions associated with Chinese landscape painting. I will argue that this expressed notions of pride and belonging that counteracted the humiliation and discrimination suffered by Chinese South Africans during apartheid. I also consider how club members mastered local South African approaches to landscape photography to communicate their attachment to Johannesburg and South Africa, as well as to prove their equality with white-dominated camera clubs and photographic societies. Darren Newbury (2013:231) has astutely observed the “need to consider a wider range of photographic practices than have typically been given attention in histories of South African photography.” Newbury (2013:227) suggested that such research can reveal how “ordinary South Africans” used photography to express “dreams and aspirations” that were curtailed by the apartheid system.2 As its achievements show, the CCCSA functioned in exactly this way: it allowed photographers, individually and collectively, to represent themselves and their communities in ways which transcended the restrictive identities imposed upon them by the hierarchies of racial classification embedded within the apartheid nation state.

Sean McFarland's Glass Mountains

[ILLUSTRATION OMITTED] The photographs that comprise the series Glass Mountains (2012-present) grow out of and extend from Sean McFarland's long-standing investigation of the natural world and how it has been represented by photography. McFarland, a California native, has long been preoccupied by the landscape of the American West. Beginning with Pictures of the Earth (2007-12), an earlier series that combined photographs of the Western landscape with his own imagined collages, McFarland's work has consistently sought to mine the myth of the West itself rather than simply describe it. McFarland received an MFA in photography from the California College of the Arts in 2004, and is currently a visiting assistant professor at the Rochester Institute of Technology. McFarland showed his newest work, Glass Mountains, at Visual Studies Workshop in spring of 2015. Glass mountains formed throughout the Western United States when quickly cooling lava created peaks of obsidian, a vitreous black rock. I he poetic term is contradictory in nature: although glass and rock derive from the same elements, a mountain made of glass would be more likely to shatter than stand the test of time. When applied to McFarland's pictures, the term suggests that the concept of wilderness itself is a mythological and malleable construction. Many contemporary artists seek to deconstruct and understand the ways society has used photography to catalog and define experiences with nature. The rich history of landscape photography, from Timothy O'Sullivan's survey views and Ansel Adams's majestic vistas to natural history textbooks and scientific manuals, informs McFarland's work. In the past he combined found images and documentary photographs to create imaginary views. With Glass Mountains, he does not seek to depict or record the terrain charted by those who came before him as much as to interpret a new cultural understanding of the wilderness based on their accumulated viewpoints. [ILLUSTRATION OMITTED] Natural history is itself a human construction and is as much McFarland's subject as the landscapes he photographs. Moon Study (gelatin silver print and graphite on board, 2014) was inspired by The Moon: Considered as a Planet, a World, and a Satellite, a volume published in 1874 by James Nasmyth that includes what at first appear to be photographs of the moon. The illusion of reality breaks down upon closer examination, exposing plaster models that Nasmyth built from detailed sketches he made while gazing at the lunar surface through his homemade telescope. Neither fact nor fiction, these photographs depict one man's perception of a distant topography and a desire to document and define the unknown. Like Nasmyth's theatrical plaster models, McFarland's experimentations with the camera often serve to approximate natural phenomena. Moon Study suggests the luminescent orb solely by alluding to its circular shape. The fact that it was made from a photogram of a coin proves how quickly symbols begin to stand in for or approximate what they are intended to represent. This photogram demonstrates photography's ability to represent an idea at the same time that it fails to accurately reproduce it. …

A Study on Evaluation of the Rurality by the Distance of View

Improve the rural views of the Government and the municipalities with the intention of rural landscape planning. However, rural scenery evaluation of landscape types and element categories, landscape scenes, such as the valuation of resources selected, form a coherent system and ecological point of view is not only a Visual perspective of evaluation, or evaluation is made. This study evaluates the rural landscape through the rural landscape for rurality is implemented can explain the image. Rural amenity 100 represented the rural landscape in rurality with photos of photos, and scenes, photos, location-based rural Vista rurality landscapes drawn components. Selected landscape photography scenic landscapes in the u.s. survey and image vocabularies through surveys is representative of the landscape in rurality of each Vista location-specific photos and images began extracted factors. As a result, the Distant view is a town and village in the rolling hills of the surrounding environment is an image behind the Vista Skyline, Farmland Rural village forests, Behind the hills, Individual housing roof, Housing arrangement, The number of household includes landscape components. Factor analysis `openness`, `intimacy`, `activity`, `complexity`, `safety` was down to five factors, such as a description of the overall factors that force was 66.45 percent. Middle distance view is close to being out of town houses and village environment, an image in the skyline hills Vista, farmlands, village forests, rolling hills, behind the scenes of the housing component of the neck, the sperm will honor an individual factor analysis results are `intimacy`, `safety`, `openness`, `specificity`, `complexity` five factors the whole description of the capacity factors compared to 67.24 percent. Close-range view is mainly in Vista village embraced the individual elements and an image of a harmonious location in the surroundings of the sperm, individual houses, fences, gates, courtyard, Garden, garage, agricultural facilities, including, but not limited to, factors assay but an `intimacy`, `complexity`, `safety`, `activity`, `openness` five factors, such as a description of the overall factors that force was 65.29%. This research seeks to determine the extent to which rurality of rural landscape Vista by location attributes and elements and representative officer in photo selection and rurality to extract the image. To date, followed by a comprehensive study, which was presented through the readjustment could not overlook the Visual elements. The future rural development officer for the evaluation of rural landscape classification and quantitative and objective assessment will have to come up with ways to do.

Eclipsing Aestheticism: Western Landscape Photography After Ansel Adams

Bien que l’heritage photographique d’Ansel Adams (1902-84) reste incontestable dans la culture de masse, dans les musees et parmi les collectionneurs, la nature de cet heritage fait debat parmi les artistes contemporains, les chercheurs et les theoriciens de la photographie. Pour certains, a la fin du 20eme siecle, les paysages typiques de Adams representant l’Ouest americain au milieu du siecle designaient une connivence secrete avec l’expansion americaine vers l’ouest durant la guerre froide, meme si dans le meme temps, son nom etait associe a un type de photographie de paysage esthetisee et depolitisee. Pour leur part, les photographes contemporains sont attires par l’esthetique du paysage, si en plus ils sont animes de considerations politiques et environnementales. Cet article analyse certaines des failles qui se font jour dans l’heritage d’Ansel Adams dans le domaine de la photographie de paysage par des artistes qui prennent en compte les problemes politiques et environnementaux de l’Ouest global.

Grete Stern's Work in Argentina

This article looks at Grete Stern's work in Argentina after her first trip to and show in Buenos Aires in 1935 through her last works with photography in the 1980's, revealing the scope of her photographic production and intervention in the Argentine art scene. It highlights both her work within portraiture as well as her understudied and largely unknown landscape photography. It also examines her studies and involvements with the rise of avant-garde and modernist photography in Europe prior to her definite move to Argentina in 1936.

Andrew Engel: 50 years of neuromuscular disorder research

Andrew Engel: 50 years of neuromuscular disorder research

Plane Views

“Plane Views” are taken from airplane windows by gazing tourists and migrants alike. These photographs give self-reflexive witness to the “in-between-ness” of air travel as an experience of modernity. However, such images of celestial skies and earthbound topography are also reworked through folklore, and classical and popular culture, into the metaphorical dreamscapes of diaspora imagination. This article looks at a collection of my father's photographs taken from planes during various family migrations of the 1960s and 1970s, between the globally scattered territories of Indian Fijian communities, across the Pacific region and beyond. By linking these images to the personal and collective narratives attached to their production and consumption, “Plane Views” can be understood as reinterpretations of the historical tropes of both landscape photography and the omnipotent gaze of surveillance.

Landmark: The fields of landscape photography

Landmark: The fields of landscape photography

The Dialectic of Depth in Landscape Photography

The Dialectic of Depth in Landscape Photography