Photography Skills Research Articles

Imagery Scenery – Innovative Expression of Washing Landscape Painting Photography

The rich and colorful aesthetic sentiment in Chinese traditional landscape culture is the foundation and resource of the current innovation of landscape photography. This paper tries to combine modern photography skills and technologies with traditional landscape aesthetic theory so that to investigate an innovative expression of transforming the realistic characteristic of photography into creative form of imagery scenery. Key words : Imagery scenery; Washing landscape painting; Creative photography

“Say Cheese”: Teaching photography skills to adults with developmental disabilities

We evaluated a video prompting procedure to teach adults with developmental disabilities to take a digital photograph and print it using a laptop computer and a printer. Participants were four men with developmental disabilities. Training was conducted at the participants’ residential facility. During baseline, participants were told to take a photograph, but were given no other instruction. During intervention, participants received instruction using a video prompting procedure. Video prompting consisted of watching a clip of each step of the task analysis and then having the opportunity to imitate that step. Video prompting was evaluated using a multiple-probe across participants design. Following acquisition, video prompting was removed to assess maintenance at 2, 4 and 8 weeks and at 6 months. During naturalistic probes, participants had the opportunity to take a picture of their choice of flora, surroundings or persons. All four participants learned to take and print a digital photograph with the video prompting procedures. The skills generalized to novel situations and were maintained at each follow-up probe. These data suggest that video prompting may be an effective instructional strategy for teaching digital photography skills to adults with developmental disabilities.

History of the Portrait

This article is a fragment of the book "The Symphony of Light and Shadows. The Way to Higher Photographic Skills", which is being prepared for publication. It analyzes one of the most difficult aspects of fine art-work on the portrait of a man

Photography, Higher Education and the Skills Agenda

This article outlines how higher education in the UK has undergone some significant changes over the last ten years in which government departments and policies are linking the “skills” we deliver to the nation's economic growth. This is now monitored by agencies such as the Sector Skills Councils. This article takes a first step in considering how photographic lecturers in higher education have responded to this debate. It moves on to suggest that our relationship to agencies such as Skillset could be most effectively managed through an examination of our own, historical, ideological and disciplinary positions in terms of the delivery of photographic skills. In this respect the article suggests that such a theoretically informed approach to skills could, in fact, allow us to engage productively with this new government agenda.

Student Publications’ Place in the Agricultural Communication Curricula

Many agricultural communication or journalism programs offer publication production opportunities as a way for students to use their writing, editing, design, and photography skills. This study evaluated the curriculum and make-up of student publications produced through these agricultural communication or journalism programs. The study also described the role advisers have in handling editorial, ethical, and legal issues. Data were collected through a questionnaire sent to members of the Academic Programs Special Interest Group in the Association for Communication Excellence. Fifteen programs identif ied offering a student-produced publication. The majority of these publications (n = 8) were offered as a course in an agricultural communication or journalism program, while f ive programs developed their publications as an extracurricular activity. Once the publication was produced, only three of the publications were reviewed and critiqued by industry professionals. While no advisers were concerned with obscenity issues, eight were concerned with a code of ethics, f ive were concerned with censorship, and four were concerned with libel issues. Recommendations are made for agricultural communication or journalism faculty.

Clinical photography

Digital cameras, when used correctly, can provide the basis for telemedicine services. The increasing sophistication of digital cameras, combined with the improved speed and availability of the Internet, make them an instrument that every health-care professional should be familiar with. Taking satisfactory images of patients requires clinical photography skills. Photographing charts, monitors, X-ray films and specimens also requires expertise. Image capture using digital cameras is often done with insufficient attention, which can lead to inaccurate study results. The procedures in clinical photography should not vary from camera to camera, or from country to country. Taking a photograph should be a standardised process. There are seven main scenarios in clinical photography and health professionals who use cameras should be familiar with all of them. Obtaining informed consent prior to photography should be a normal part of the clinical photography routine.

Pictures of Home

In a photograph just larger than life size, a young woman twists toward the camera, looking over her shoulder into the lens. She stands upright in an endless and undefined white space. Framing her round, youthful face are long wispy bangs crossed over her forehead. Strands of straight hair and loose, black, corkscrew curls fall down her back. Her bright, open eyes stare directly at the viewer. Does she give a parting gaze, a final look before entering into the unknown whiteness in front of her? What does she see? Is she defiant, offering a tense glare of resentment? Does she look back knowingly in a gesture of recognition? Is she looking back into the past with a face of disappointment, hurt by betrayal? Or perhaps this is the smoldering gaze of a budding starlet, part of a well-rehearsed pose for the paparazzi. To complicate these possible readings, the young woman stands draped from her neck down in an American flag. The few stars and stripes visible on the fabric cling to her from below the edge of the photograph. She commands our attention and the power of the flag at her will. [ILLUSTRATION OMITTED] Simply titled after its sitter, Irene Zapata (2007) is an example of the latest compelling photographic series by Atlanta, Georgia-based photographer Sheila Pree Bright. Recently on view at the High Museum of Art in Atlanta. Young Americans, consists of over forty individual digital color portraits of Generation Y-ers, posed with the American flag. In this post-September 11 world, the use of the flag is something see regularly on many things, from the rear windows of SUVs to jacket lapels. Particularly in this election year, arguably when it matters most, are increasingly desensitized to the flag and the nationalist rhetoric that it symbolizes. In the midst of the twenty-four hour coverage from the campaign trails, a new focus on the American flag has emerged: one that refocuses viewers on the diverse identities of the individuals that constitute America. Bright presents to us Generation Y, the youngest generation of America's voters and the nation's largest generation since the Baby Boomers. For several years, Bright has used her photography skills to reach urban youth about photography through the Office of Cultural Affairs in Atlanta. One of the frequent frustrations that Bright hears from her students is that they are not taken seriously by the generations currently in power. Repeatedly hearing this comment troubled Bright, particularly considering the overwhelming responsibility handed down to this generation regarding issues of politics, the environment, economics, and international relations. With all of this responsibility and little intergenerational communication, how prepared would this new generation be for the future? What unheard ideas do they have now that can contribute to the current state of the world? Are the media interpretations of this up-and-coming generation true? Or were some of the unattractive aspects of American culture-at-large, i.e. superficiality and materialism, being projected unfairly onto Generation Y? Bright conceptualized the Young Americans project to help answer these questions and bring forth new knowledge about this massive group. Between 2006 and 2008, Bright traveled to colleges and universities across the country to find Gen Y-ers to participate in Young Americans. She was excited by the opportunity to search for answers to her questions, and her excitement was met by the willingness of the students to fulfill the project. These students volunteered to participate in the opportunity for self-expression and the chance to disseminate their ideas in the art world. Bright's collaborative creative process sought to put her sitters at ease. Students were, handed a laptop with an open document that simply had the prompt AMERICA typed in the header. Each participant was asked to type in a response that would serve as the personal statement for the upcoming portrait. …

Families (review)

Reviewed by: Families Deborah Stevenson Kuklin, Susan Families; written and illus. with photographs by Susan Kuklin. Hyperion, 2006 [36p] ISBN 0-7868-0822-5$15.99 Reviewed from galleys Ad Gr. 3-5 Kuklin brings her interviewing and photography skills to a series of fifteen family portraits, each occupying a double-page spread, involving commentary from the children of the family, and including, in addition to Kuklin's two photographs, a family photograph selected by the children themselves. A broad range of families are represented on all fronts: religious affiliations include Christian, Orthodox Jewish, and Muslim; backgrounds are American, Indian, Egyptian, Korean; parents are straight and gay; some kids are twins, some kids are only children, some kids have disabilities. The photographs are eloquent portraiture, and the inclusion of one of the family's own photos (the kids often select one of their parents or other relatives) adds dimension. The breadth of families included is interesting, but it's their very part in that breadth that the kids repeatedly comment on, giving the book a purposive feel; whether that tendency reflects current American preoccupations or interview/editorial focus, the result is that the subjects' status as representatives tends to overshadow their voices as individuals (ironically, one of the most memorable voices is that of the girl who says, "Some people ask questions about how we are different. I'd rather they ask how we're alike"). This is nonetheless a solid and [End Page 271] useful book for providing a look at modern families; it will provide reassurance to youngsters who feel there's a norm their family should be attaining but isn't, and it could also serve as a model for kids' own family-presentation projects. Copyright © 2006 The Board of Trustees of the University of Illinois

Microscopic photography for the restorative dentist.

Obtaining quality 35 mm photographs through an operating microscope challenges even the best of operators, and few clinicians have actually mastered the technique. This article discusses how to easily obtain quality high-resolution digital photographs at various magnifications using an operating microscope by adopting a technique that is easy to master and can be accomplished by any clinician who learns the skills. This review summarizes the advantages and disadvantages of microscopic photography, with a particular emphasis on digital photography. There is a discussion of the required equipment and necessary technique. The value of using digital photographic libraries at chair-side is explored. Since the photographic skill with digital photography is easily mastered, clinicians can now more thoroughly document their cases and enhance their case-presentation skills. Teachers and lecturers can also draw upon large photographic relational databases to expand their presentation capabilities.

Scanning laser ophthalmoscopy as a tool for detecting atrophy of the central retinal nerve fibre layer in Leber's hereditary optic neuropathy.

To study the central retinal nerve fibre layer with scanning laser ophthalmoscopy (SLO) in subjects with Leber's hereditary optic neuropathy (LHON), a disease primarily affecting retinal nerve fibres in the macular area. SLO was performed using combinations of laser wavelengths and aperture settings in subjects with LHON and in age-matched normal controls. Six subjects with LHON were examined. The reduction of central retinal nerve fibre layer was clearly demonstrated on the SLO images. Consistent findings were abnormal visibility and apparent broadening of perifoveal blood vessels. In all six normal controls the temporal nerve fibre raphe could be demonstrated. SLO imaging is an easy way of depicting the central retinal nerve fibre layer, requiring no special photographic skills. The demonstration of nerve fibre reduction is valuable in the early diagnosis of LHON.

Laryngeal Photography

Various methods of still photography and videography of the larynx are described in this article, some simple, inexpensive, and recommended for residents and occasional laryngeal photographers, while others are more involved, costly, and recommended for serious laryngologists. The choice of a specific method depends upon the physician's need, the availability of the equipment, budget, and more importantly, photographic skill and imagination. Although still photography is a valuable method of laryngeal documentation today, videography increasingly is gaining favor. Because of its simplicity, reproducibility, time and cost effectiveness, and capacity to simultaneously record laryngeal images and voice, videography has distinct advantages and may someday replace still photography of the larynx.

Video: Is it Too Technical for Occupational Therapists?

Video can be very daunting to the uninitiated. When the authors started using the equipment they had had no formal instruction, but had to rely heavily on the instruction manuals and basic photography skills. They therefore learnt by trial and error, but even so the end result has been presentable. This article aims to assist beginners in purchasing and using video equipment for the first time so that they can benefit from the authors' experiences.

VIEWERS' PERCEPTIONS OF VELOCITY AND DISTANCE IN TELEVISED EVENTS

Subjects from third-grade, seventh-grade, and college-age levels who differed with respect to photographic skills and knowledge were asked to judge the comparative velocity and distance traveled by two trains on videotape. In each of four comparisons, the velocity and distance traveled by both trains were equal, but photographing the trains with lenses of different focal lengths produced apparent differences between the velocity and distance traveled by the trains. Both children and adults frequently interpreted the effect of lens focal length as actual differences between the two trains in velocity and distance traveled. Hands-on experience with the tools of visual media only slightly mitigated against this tendency. The implications of this study are that many viewers do not understand how television production techniques manipulate perceptual information, and may thus be misled by their use.

Teaching Basic Photography Skills to a Severely Handicapped Young Adult Using Simulated Materials

Leisure skills programming for individuals with severe handicapping conditions has recently emerged as a prominent curricular domain. The present investigation examined acquisition, maintenance, and generalization aspects of teaching basic photography skills to a 20-year-old severely mentally retarded male with Down's syndrome. Training occurred in a public school setting and at the learner's place of residence. Training procedures combined simulation, a least-to-most intrusive prompting hierarchy, basic reinforcement strategies, and a method of assisting the learner make the connection between simulated and real materials. Within a multiple-probe design across four phases, the learner acquired and maintained the skills of loading film in a camera, using a flash attachment, deciding what to photograph, and taking a photograph. Additionally, generalization effects from simulated to real materials showed increasing covariation as the program progressed. Implications of this study focus on the viability of p...

Atlas of External Diseases of the Eye, vol 2, Orbit, Lacrimal Apparatus, Eyelids, and Conjunctiva.

Volume 2 of Dr. Donaldson's comprehensive atlas of stereophotographs of external eye disorders contains 16 reels of full color transparencies effectively demonstrating congenital anomalies, inflammatory diseases, trauma, and neoplastic conditions of the orbit, lacrimal apparatus, lids, and conjunctiva. A short textual description and black and white photograph of each stereo pair greatly enhances the value of this reference volume. Residents and students, particularly, will find the atlas of great value and will envy the photographic skill of the author.

Electron-microscope studies of Fasciola heaptica. 3. Further observations on the tegument and associated structures.

Additional ultrastructural features of the tegument of Fasciola hepatica, after glutaraldehyde fixation and high resolution, have been observed.Two distinct types of tegumental cells are shown to be present, the type 1 cell having been previously described. Details of the fine structure of the nucleus, mitochondria, endoplasmic reticulum and Golgi complex of the type 2 cell are given. The type 2 cell is characterized by biconcave secretory bodies derived from the Golgi complex and the latter is intimately related to the granular endoplasmic reticulum, from which it is derived by blebbing. The type 2 cells are connected by protoplasmic tubes to the same surface syncytium as type 1 cells.These new findings of the structure of the tegument of Fasciola are compared with previous reports on the ultrastructure of the tegument in other flukes.I should like to express my sincere thanks to the following: the Wellcome Trust and S.R.C. for grants to purchase an Akashi TRS 50 and an A.E.I. E.M. 6B electron microscope respectively; the Royal Society for a personal grant to purchase a Reichert Ultramicrotome and a vacuum coating unit.My thanks are also due to Mr W. Ferguson for photographic skill and to Mr A. Lyness for technical assistance and microscope maintenance, and my Research Associate, Mrs S. S. E. Dermott, for expert electron-microscopy.

Trends in the Demand for Photographic Skills

This department is devoted to shorter articles and notes on research in the communications field, either completed or in progress. Readers are invited to submit reports on investigative studies which might prove useful to other students because of content, method, or implications for further research.

An Antarctic Album 1

AMONG the most valuable assets of the National Antarctic Expedition were the artistic ability of Dr. E. A. Wilson and the photographic skill of Engineer-Lieut. Skelton; and a large selection from their sketches and photographs, supplemented by those taken by other members of the expedition, has now been issued in a sumptuous volume and portfolio containing 165 plates. The illustrations included in this collection have been selected and arranged by Dr. Wilson, and he has also written the introduction and the description of the plates; he gives full acknowledgment to Captain Scott and other of his colleagues for their help in this respect.