Photographic Services Research Articles

Mengulik Longevity Jasa Fotografi Di Tengah Gempuran Smartphone

Photography is one of the new avenues of service and business, some have made a hobby of photography a lucrative profession. They should be prepared to compete with other companies of the same kind by creating a good image of the consumer, providing quality of service and increasing innovation and creativity in order to create different photo concepts and attract consumers. The strategy became the main idea of Hero Photography to develop a business in photographic services. Hero Photography tried to adapt and compensate by coming up with a strategy that would attract consumers.These research methods use descriptive qualitative, with the aim of providing an idea and an explanation as to how startegi services Hero Photography in the interest of consumers. The study uses primary data sources as data obtained from informers and secondary data from archive or documents, journals, and various archival files of Hero Photography. Data collection techniques through observation, interview and documentary. At verifying data data using triangulation of methods and source triangulation using data analysis techniques of reposing data, presenting data, and summarizing data.Research has shown that the concept of sustainable excellence is influenced by the quality of the product, in this case, a superior photograph of adequate human resources capable with an obvious market target. The performance of the sale of Hero Photography was influenced by a marketing strategy with a concept of 4P (Price, Place. Product, Product), among other things is photographic quality, aesthetic quality good photo quality in terms of aesthetically pleasing clients who are less likely to use hero photography services. Strategic places like the old city become the attraction of visitors to capture the moment. Promotion became a strategy by using social media asa tool for promotion and offering online photo services by viewing affordable prices as one of the preferred customers to use the Hero Photography photo service.

Archiving the Algerian Revolution in Zineb Sedira's Gardiennes d'images

Archiving the Algerian Revolution in Zineb Sedira's <i>Gardiennes d'images</i>

The Usage of Smartphone Photography and Its Impact on Professional Photography in Ghana

The focus of the study was to explore and examine the effects of smartphone usage on the services of professional photographers in Ghana. The study employed interview, focus group discussion and observation to gather qualitative data from six (6) professional photographers in Sekondi/Takoradi metropolis of Ghana. The purposive sampling technique was used to select the participants as well as the study areas. The study revealed that the adoption of smartphone photography is increasingly becoming pervasive and trendy in the midst of professional digital photography practice, such that both professional and non-professional photographers express their delight in the technology. The findings revealed that in Ghana, majority of people adopt and use smartphones for photography for various reasons, the convenient and easy accessibility of the smartphone in taking photographs and perceived usefulness of smartphone technology in photography. The study also revealed that the usage of the smartphone tends to have a significant effect on professional photography, such as the training for the practitioner, patronage of professional photographic services, competition and battling for space at programmes. Despite the challenges the emergence of smartphones has increased awareness and the demand for photography thereby promoting personalised digital photography.The study, however, concludes that by and large, smartphone photography has emerged to thrive in the social system. It is recommended that professional photographers should adopt mobile application technology to enhance their activities, build their business and take advantage to extend their professionalism into smartphone photography.

INVESTMENT STRATEGY IN CREATIVE INDUSTRY USING DIFFERENTIAL ACCOUNTING

The need for documentation of a photo is one of the positive trends formed by the market, one example of which is documentation of weddings that currently the need for these services has never subsided. Behind the increasing demand that occurs in the market there are some obstacles for the providers of wedding photography services, namely internally their understanding of financial literacy, especially on investment is still not good. This has an impact on the efficiency of operational costs that occur when they are faced with the decision to buy a new camera or rent a camera for its operational activities. The purpose of this study is to analyze investment strategies by using management accounting, especially accounting differentials in the decision making process of buying or renting documentation tools for the perpetrators of wedding photography services so that it can be seen which decisions are more efficient. The method in this study uses comparative studies, while the analytical technique used is differential accounting. The results of the study show that there are differences in costs used in buying or renting photographic cameras. There is a comparison of 42%, buying a camera using Micro KUR credit is more efficient than renting, but some photographic service providers still have difficulty in understanding the credit application process and there are concerns that it cannot afford to pay credit installments with a long enough period of time.

Picturing Canada

This project focused on gathering information relevant to photography in British North America from the period of 1839-1889. It utilized the digitized newspapers available on the searchable Paper of Record database, beginning with Halifax, Toronto, St. Thomas, and Vancouver. The recorded information highlighted photographic service advertisements, studio location changes, photographic bookings, and new developments in photographic technology. This research allows for insight into how and for what purposes photography was being used in this time period. Through examining different newspapers across multiple locations, this project was able to track the speed at which news and technological developments were received in different areas. The project additionally tracked and mapped the location of artists and photography studios, in an effort to tie the movement of photographers from one city, town, or province, to one another. Several photographers were discovered to occupy the same photographic studios, passing off their studios to others, while in pursuit of a greater opportunity elsewhere. In executing this research, this project established a basis for on the archived information on early Canadian photography, and specifically, the connections between the movement of photographers.

Views of continuity and change: the Press Photo Archives in Buea, Cameroon

The English-speaking part of Cameroon in the south western part of the country, two of a total of 10 regions and making up roughly 20% of the population, joined French Cameroun in 1961 to form the Federal Republic of Cameroon. In 1972, a new constitution replaced the federation with a unitary state called the United Republic of Cameroon. The Press Photo Archives in Buea, West Cameroon’s former capital, is a remnant of this period. Covering a short but crucial period before independence as well as the process of the new independent state’s formation and subsequent transformation into the Republic of Cameroon, the material of the Press Photo Archives and the Archives’ institutional development grant, from an Anglophone perspective, a deep insight into this long and complex history. The photographs reflect continuity and change of state-wide rituals and the development of new iconographies as well as a challenged identity within the Cameroonian nation. However, the Archives not only store records of the past in a wide spectrum of topics but also the spectres of a contested past which needs to be controlled and appeased. The Press Photo Archives were an integral part of the Government Photographic Service which was created in 1955 by the British and continued its activities after independence as of part of the Ministry of Information and Culture and later the Ministry of Communication. The governmental photographers’ duty was to follow any governmental or otherwise socially relevant events throughout the Anglophone regions of Cameroon.

The image of a business leaders in the commercial photographic services

The image of a business leaders in the commercial photographic services

Visages, lieux, héritiers. « L’archéologie mémorielle » du photographe Tomasz Kizny

The work of memorial archeology conducted by the photographer Tomasz Kizny (Gulag, Firefly Books, 2004; The Great Terror in the USSR from 1937 to 1938, Lausanne: Noir sur Blanc, 2013) is presented in three aspects: faces, places, heirs. Faces of the condemned captured by the photographic services of the Muscovite prisons of the NKVD a few days or even hours before execution ; killing or mass burial sites spread across the territories of the former USSR, and descendants of victims or memory pr...

Intersecting Archives: Intertextuality and the Early West African Photographer

This paper examines practices of intertextuality in the dispersion of images by some selected early West African photographers1 who utilized dry plate technologies in the late nineteenth to early twentieth century. There is a burgeoning literature on early African photographers but little attention has been devoted to their dialectical relations with each other or the modes of intertextuality that operated between photographers. Photography was at the center of the visual fabrication of localized West African modernities and imaginaries2 during the second half of the nineteenth century. The technology, initially patented and made publicly available in 1839 in France, was taken up in Africa from the 1840s onwards and offered innovative modes of representation (Szarkowski 1966:1–6, Rajchman 1988:88–117). Its points of entry into West Africa, as elsewhere on the continent, were multiple (Viditz-Ward 1987:510–18, Yarak 1995:9–11, Haney 2010:24–27), and initially images were mostly produced as single, unique daguerreotypes on a polished silvered surface, usually sealed under glass.3 The daguerreotype was, however, paralleled by the invention and publication of the calotype process in Britain by Henry Fox Talbot in 1841. This paper-based negative-positive process allowed for unlimited photographic reproduction. Despite these advantages, it did not initially have the commercial success of the daguerreotype.4 Photographic technologies were diverse, rapidly changing, and developed throughout the nineteenth century. Such innovations, whether temporary or long-lasting, were imported into West Africa shortly after their availability in European or American markets. The daguerreotype persisted in Africa until the end of the nineteenth century, as exemplified in an advertisement of the Sierra Leone Weekly News (1884) where Shadrack A. St. John (identified as a photographer of African descent by Viditz-Ward, 1987:512) offered an improved daguerreotype process as well as the subsequent Gelatine Instaneous (dry plate) process.5 The adoption and popularity of the wet collodion glass plate process (1851 onwards) was quickly adopted by professional photographers and contributed to the burgeoning of professional studios around the world (Pols 2002:11). Its dissemination and subsequent refinement as the dry glass plate process (1870s onwards) allowed for the widespread use of the negative transfer technology pioneered by Talbot with its capacity for faster speeds, sharper, clearer images, and unlimited multiple mechanical reproduction. Moreover, as Walter Benjamin famously noted (1968:211–44), this technological capacity meant that each individual production of a given image had the potential to be constituted within a range of differing contexts that transformed their significances. For professional photographers, in particular, this offered the possibility of developing an archive of images, each of which could be repeatedly sold to a range of clients to maximize earnings. Indeed, by 1893 the Gold Coast-born photographer Neils Walwin Holm, who had settled in Lagos Colony in 1886, identified some eighty professional and amateur photographers in West Africa who were using the dry plate photographic technology (Holm 1893b:211). Itinerant commercial European and African photographers travelled the shipping routes in search of patrons and to build up image stock, and in so doing developed numerous markets for photographic services among diverse West African communities. This was greatly aided by the innovation of regular steamship services from the United Kingdom to the Niger Delta region in 1852, with increased numbers of destination ports along the West African coast (Lynn 1992:421–25). With the importation of the newer photographic technologies of dry (and prior wet) plate photography and multiple image production, West African photographers,

Careers and Emerging Opportunities in Visual Communication in Medicine: Medical photography in Norway

The community of medical photographers in Norway is relatively small. Except for one they are all employed with titles such as research technicians, department engineers, senior consultants and skilled workers. At the present there is no formal education in medical photography. The most common educational attainment for photographers is the Journeyman's certificate. Until recently, the requirement for employment for photographers at Norwegian hospitals was the Journeyman's Certificate. However, the Institutt for Klinisk Medisin at University in Oslo recently advertised a vacancy for a departmental Engineer to run its photographic and video services. The post required that the candidates possess either a Bachelor's degree in a relevant subject. This is the first vacancy in medical photography in nine years. The Norwegian health services have been reformed in the direction of New Public Management (NPM). To utilise the resources effectively, tasks that normally would be performed by one health profession are shifted to another with a different or lower education and training. There are reasons to believe that the shift of medical photography from professional photographers to other health personnel without specialist training or qualifications is an attempt to utilise resources more effectively. During the next two years a mixed methods research will be carried out to explore the current situation for medical photography in Norway.

The Library as Partner in University Data Curation: A Case Study in Collaboration

Data curation is a concept with many facets. Curation goes beyond research-generated data, and its principles can support the preservation of institutions’ historical data. Libraries are well-positioned to bring relevant expertise to such problems, especially those requiring collaboration, because of their experience as neutral caretakers and information professionals. This article details how one university library partnered with various campus entities, specifically the Office of Alumni Relations and the Photographic Services Department, as well as the Division of University Advancement, to further two data curation projects involving university yearbooks and a historical negative and photograph collection. Collaboration was necessary in order to achieve the desired result: the ongoing management and preservation of these resources for their promotional worth and as tools for scholarly research. These efforts allowed for the digitization, management, and preservation of the original resources as well as the creation and perpetuation of digital collections which are easily accessible to university stakeholders and the community at large. This cross-university effort illustrates how this type of data curation project can build both individual and departmental relationships, increase buy-in for all involved, and establish an infrastructure for the furtherance of future projects.

The preferences of people with diabetes for diabetic retinopathy screening

With the current worldwide epidemic of diabetes [1], annual digital photographic screening services in the four nations of the UK are coming under increasing pressure. When the National Service Framework for Diabetes: Delivery Strategy was announced by the Department of Health in England in 2003, it was believed that there were approximately 1.4 million people with diabetes who would require annual screening. Returns to the Department of Health [2] in the second quarter of 2010 reported 2 379 792 people over the age of 12 years with diabetes and, by the second quarter of 2011, this had risen to 2 511 927, a rise of over 132 000 (more than 5%) in 12 months. There has been increasing interest in the possibility of extending screening intervals in people with diabetes at low risk of progression to sight-threatening diabetic retinopathy and there are discussions in England, Scotland, Wales and Northern Ireland about the available evidence and the possible changes that might be introduced safely for people with diabetes. Early work [3–5] suggested that screening intervals could be extended on the basis of a single screening result, and more recent work [6] estimated an individual risk of developing sight-threatening retinopathy using a combination of known clinical and demographic risk factors and recent photographic screening results in order to determine an appropriate time interval for the next examination. However, the clinical information that would be required to evaluate individual risk scores may not be readily available or may be unreliable (e.g. reported duration of diabetes). In addition, there have always been concerns about the potential for patient loss to follow-up induced by an extended hiatus between ophthalmic evaluations [7] and about whether an individual who is informed that they are at ‘low risk’ might concentrate less on the control of their diabetes.

Global health conferences: Are they truly "global"? The Bethune Round Table paradigm for promoting global surgery

Global health conferences: Are they truly "global"? The Bethune Round Table paradigm for promoting global surgery

Elsa martinelli: Italy's audrey hepburn

Elsa martinelli: Italy's audrey hepburn

The post‐war problems of continental libraries

PurposeAims to look at the post‐war problems of continental libraries.Design/methodology/approachPresents the author's own experiences and memories of lost literature in the war years.FindingsIn many countries the whole network of libraries was built up afresh – almost from nothing – with shortage of paper, of books, of library equipment, of building accommodation and library staff.Originality/valueThe author stresses the importance of the resumption of the activities of international librarian organizations to facilitate the exchange of ideas, the discussion of various questions, and the re‐establishment of pre‐war services such as interlibrary loans, photographic services, exchange of publications, etc.

The Environmental Impact of Photographic Services

The Environmental Impact of Photographic Services

A Case Study - Twenty Years Experience at the Smithsonian Institution: The Planning and Operation of a Cold Storage Facility for Photographs

Cold storage is the standard recommended method for prolonging the usable life of photographic materials. The use of cold storage facilities has been an important addition to the techniques and operating procedures of museums and other organizations charged with the long-term storage of photographs. While the value of cold storage is universally accepted, the techniques and pitfalls of operating a cold storage facility are less well known. Cold storage units are a complex assemblage of mechanical equipment to chill and dehumidify the air, while also removing harmful gases commonly found in an urban environment. The planning, funding, construction and operation of a large, walk-in cold storage unit requires both extensive time and detailed working knowledge by the staff assigned to the facility. The Smithsonian Institution's Office of Photographic Services has operated a photographic cold storage facility since 1982. This case study reviews the lessons learned in the construction and more than two decades of experience in the daily operation of this facility.

CPXe: Web services for internet imaging

The Common Picture eXchange environment leverages the Web services paradigm to serve the electronic photographic services market, combining open standards for exchanging digital images, orders, and other information with an online directory of service providers.

Carl Louis Gregory: Life through a lens

O ne of the results of the continuing investigation of our cinema heritage is the re-evaluation of those individuals previously relegated to the shadows of the Motion Picture Industry. While the contributions of major players are well recorded by history, there is a group of remarkable people, many unknown to us, who have also had an impact on events and developments in the industry. Their names may have faded from memory, in much the same way as the images they once worked so hard to produce. However, much as we work to restore these images, we should also work to bring back to the forefront the contributions of these industry pioneers. One of the most versatile was Carl Louis Gregory. A pioneering cinematographer, inventor, consultant, colour expert, writer, and preservationist whose career spanned six decades, from his beginnings as a college photographer through his later years as motion picture engineer at the United States National Archives, Carl Gregory remained at the forefront of technical developments in the industry. His expertise was sought by such companies as Technicolor, Thanhouser, Edison, Disney, and Universal Studios. He was the first to successfully shoot motion pictures underwater as part of the Williamson Brothers expedition in 1914. He traveled to the Far East in the early 1920's and filmed in such locations as Manila, Hawaii, Shanghai, Bombay, and many other exotic locales. Gregory was responsible for training recruits in the US Signal Corps during WWI in the art of cinematography. As Dean of the New York Institute of Photography he helped offer aspiring cameramen and photographers a place to hone their craft. In the 1920's he developed the first of his many optical printers, and was often called on to provide printers and technical expertise to various film related concerns. During this period his book, Motion Picture Ph tography,' was reprinted in a second edition by the Falk Publishing Company. A comprehensive technical manual, it also provided insight into areas larg ly neglected in training. Chapters on Industrial and Educational filmmaking were included as well as advice on how to be prepared and work together with other cast and crew. As one of the pioneering members of the Society of Motion Picture Engineers he helped to devise standards used throughout the industry. Upon his employment with the US National Archives, Gregory was a driving force behind many of the policies and procedures developed during the 1930s and 1940s in the Archive's Motion Picture Division. Carl Louis Gregory was born in Walnut Kansas on 9 September 1882 to Jay and Mary Ida Gregory. He was the oldest of six children, with five sisters.2 During the last decade of the 19th century the Gregory family resettled in Geneva, Ohio where Jay Gregory found work as a contractor and builder. At the age of 11 Carl Gregory began his lifelong fascination with photography when he fashioned a camera out of a cigar box and a pair of spectacle lenses. He attended high school in Cleveland, and became quite proficient in the photographic field. In 1900 he enrolled at Ohio State University, helping to defray some of his tuition costs by earning money providing photographic services for the school yearbook, as well as photographing specimens for the medical and science labs.3 In 1902 he received his degree as a pharmacist, and in 1904 he received a BS in Chemistry.

Managing digital clinical photographs.

Digital cameras have been used for clinical photography in the Medical Illustration Department at Great Ormond Street Hospital NHS Trust for eight years. In that time methods have evolved to take advantage of both technological advances and experiences gained in operating a routine digital photographic service. The management of a large number of digital images requires assiduous attention to all stages of production. Current techniques are described for: controlling quality and exposure in the acquisition of images with a digital camera; temporary and permanent storage, backing up and archiving procedures; and cataloguing of clinical images. Planning for network delivery, the Electronic Patient Record and the management of images in teaching collections are discussed.