Radiation protection study for photographic space film

Radiation protection for photographic film and reduction of radiation produced background fo

The application of a thermoplastic recording material to holographic filtering

Imperial Users onl

Bodies of water : photographic encounters of resistance, ruin and memory on the river Paraná

This research is centred on the notion of landscape as a construct of marginal and multiple dialogues. It is a project that originates from a rediscovered family album of photographs of the Latin American landscape at the turn of the 20th century. In particular those that centre on the Paraná River in Argentina, a place where myth, recent history of the Desaparecidos (those ‘disappeared’ by the military junta 1976-1983) and memory collide. These early analogue photographs of the river have sparked a series of creative interventions that explore the interstices between photography and printmaking, fragmenting the initial image in order to create new hybrid photographic prints using photo-etching and photo-transfer processes. The return of the material to the flat surface of the digital is of critical concern, as the ‘uncanny’ surface is turned into a haptic object more in keeping with printmaking practices and early pictorial photographs. This leads to questions about their affective resonance, as touch and ‘noise’ return to the surface of the print as a resistance and response to discourses of acceleration and forgetting. The theoretical and practical methodology is cyclical, and the layers of discourse appear both in the printed outcomes and in the multiple voices I use to discuss the project in writing. In the ruined surface of the analogue image, therefore, a new ruination occurs, as I develop my photographic plates in situ, in the waters of the river itself. In the encounter with the landscape, the forensic traces of Argentina’s political disappeared, now part of an on-going forensic anthropological investigation, create latent marks on the surface of the photographic plates. These invisible fragments serve to embed disruptive historical narratives into the print outcomes, as the river acts as the site of convergence for these multiple histories. These geographical and metaphorical bodies of water, distorted, disappeared and ‘ruined’ both by a history of dictatorship cover ups and the failings of memory, are able to reappear in this research, as latent and liminal imageobjects in an open-ended encounter with the multiple narratives of the river

Ubiquity

From its invention to the internet age, photography has been considered universal, pervasive, and omnipresent. This anthology of essays posits how the question of when photography came to be everywhere shapes our understanding of all manner of photographic media. Whether looking at a portrait image on the polished silver surface of the daguerreotype, or a viral image on the reflective glass of the smartphone, the experience of looking at photographs and thinking with photography is inseparable from the idea of ubiquity—that is, the apparent ability to be everywhere at once. While photography’s distribution across cultures today is undeniable, the insidious logics and pervasive myths that have governed its spread demand our critical attention, now more than ever

The progression of photographic image manipulation in communication: An argument against the revolution of technological change

The technology of photographic image manipulation has evolved faster than our ability to consider its implications. This thesis looks at the recent evolution of image manipulation, which some regard as a revolution. The various stages of technological progression are examined using examples according to Brian Winston\u27s model of technological change. These stages include: scientific competence, ideation, prototypes, supervening necessity, invention, the \u27law\u27 of the suppression of radical potential, and technological performance. A review of literature on the topic of photography in communication is included as well as an examination of the early photographers who used image manipulation in their work. A discussion of the revolution theory verses the steady progression over time theory is presented. The thesis concludes with a discussion on the impact of the current technological capabilities upon the viewers, which results in a change in our understanding of photographic reality

Colonial Terror and Contemporary Art

UIDB/00417/2020 UIDP/00417/2020As colonial visual culture now fully integrates the mainstream of historical research and artistic practice at a global level, one subset of imagery still remains woefully unaddressed: the atrocity photograph. This essay provides a brief historical contextualization of the role of photography in decolonization wars and the concurrent emergence of critical theorizing on violent images, and why it still remains exceedingly difficult to analyse graphic pictures in the colonial context; then, honing in on the case of the Portuguese colonial wars in Africa (1961-1975), it examines the rare appropriation of a shocking photograph in Daniel Barroca’s work Circular Body (2015).publishersversionpublishe

Multispectral photography for earth resources

A guide for producing accurate multispectral results for earth resource applications is presented along with theoretical and analytical concepts of color and multispectral photography. Topics discussed include: capabilities and limitations of color and color infrared films; image color measurements; methods of relating ground phenomena to film density and color measurement; sensitometry; considerations in the selection of multispectral cameras and components; and mission planning

Digital watermarking and novel security devices

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

The Techniques and Material Aesthetics of the Daguerreotype

This thesis explains why daguerreotypes look the way they do. It does this by retracing the pathway of discovery and innovation described in historical accounts, and combining this historical research with artisanal, tacit, and causal knowledge gained from synthesizing new daguerreotypes in the laboratory. Admired for its astonishing clarity and holographic tones, each daguerreotype contains a unique material story about the process of its creation. Clues from the historical record that report improvements in the art are tested in practice to explicitly understand the cause for effects described in texts and observed in historic images. This approach raises awareness of the materiality of the daguerreotype as an image, and the materiality of the daguerreotype as a process. The structure of this thesis is determined by the techniques and materials of the daguerreotype in the order of practice related to improvements in speed, tone and spectral sensitivity, which were the prime motivation for advancements. Chapters are devoted to the silver plate, iodine sensitizing, halogen acceleration, and optics and their contribution toward image quality is revealed. The evolution of the lens is explained using some of the oldest cameras extant. Daguerre’s discovery of the latent image is presented as the result of tacit experience rather than fortunate accident. This thesis is the first to rigorously explain by empirical evidence how, why, and in what ways the daguerreotype process evolved. Its trans-disciplinary methodology, combining traditional research, tacit and gestural process knowledge, and laboratory synthesis refutes the speculative views of highly regarded photo historians, thus significantly correcting the historical record. Curators, caretakers and conservators are provided new material information about daguerreotypes to guide them and protect our cultural heritage, and avoid ill-informed conservation mistakes that have led to irreparable losses of the past. Finally, this work provides evidence to revise prior histories concerning Daguerre’s research and the evolution of the daguerreotype process