Scanning photographic processes

Photographs imply that they are representations of a particular scene in terms height, width and an instant in time. There are cameras that display time itself as a dimension of the final record. These are sometimes called streak or “strip” cameras. These cameras can be thought of as strip chart recorders where the subject information is gathered optically. This makes streak cameras powerful tools for non-contact measurement of subject changes over time. But they can also be used for other than purely technical applications. In this presentation several improvised cameras of this type based on film and CCD or solid-state technology are presented and illustrated with applications. based the application of a linear CCD removed from an inexpensive hand-scanner and installed in the back of a 35mm camera body. I’ve used them to demonstrate a variety of applications where quantitative data about subject performance is desired and have also applied the camera for more aesthetically oriented purposes such as peripheral and panoramic photography. The cameras and their applications will be described in this presentation

Method of examining microcircuit patterns

Examination of microstructures of LSI and VLSI devices is facilitated by employing a method in which the device is photographed through a darkfield illumination optical microscope and the resulting negative subjected to inverse processing to form a positive on a photographic film. The film is then developed to form photographic prints or transparencies which clearly illustrate the structure of the device. The entire structure of a device may be examined by alternately photographing the device and selectively etching layers of the device in order to expose underlying layers

Maintaining authenticity: transferring patina from the real world to the digital to retain narrative value

This research is concerned with utilizing new technologies to harvest existing narrative, symbolic and emotive value for use in a digital environment enabling "emotional durability" (Chapman, 2005) in future design. The projects discussed in this paper have been conducted as part of PhD research by Rosemary Wallin into 'Technology for Sustainable Luxury' at University of the Arts London, and visual effects technology research undertaken by Florian Stephens at University of West London. Jonathan Chapman describes vast consumer waste being "symptomatic of failed relationships" between consumers and the goods they buy, and suggests approaches for designing love, dependency, and even cherishability into products to give them a longer lifespan. 'Failed relationships' might also be observed in the transference of physical objects to their virtual cousins. Consider the throwaway nature of digital photography when compared to the carefully preserved prints in a family album. Apple often use a skeuomorphic (Hobbs, 2012) approach to user interface design, to digitally replicate the patina and 'value' of real objects. However, true transference of physical form and texture presumably occurs when an object is scanned and a virtual 3D model is created. This paper presents three practice-based approaches to storing and transferring patina from an original object, utilizing high resolution scanning, photogrammetry, mobile applications and 3D print technologies. The objective is not merely accuracy, but evocation of the emotive data connecting the digital and physical realm. As the human face holds experience in the lines and wrinkles of the skin, so the surface of an object holds its narrative. From the signs of the craftsman to the bumps and scratches that accumulate over the life of an item over time and generations, marks gather like evidence to be read by a familiar or a trained eye. According to the time and the culture these marks are read within, they will either add to or detract from its value. These marks can be captured via complex 3D modelling and scanning technologies, which allow detailed forms to be recreated as dense 3D wireframe, but the result is often unsatisfying. 3D greyscale surfaces can never fully capture the richness of patina. Authentic surfaces require other qualities such as colour, texture and depth, but there is something else - more difficult to define. Donald A. Norman expands on the idea of emotion and objects by describing three 'levels’ of design "visceral, behavioural and reflective". Visceral is based on "look, feel and sound", behavioural is focused on an object’s use, and reflective is concerned with its message. New technology is commonly seen in terms of its ability to increase efficiency, but this research has longer-term objectives: to repair or even rebuild Chapman's 'broken relationships' and enable ‘emotionally durable' design. The PhD that has formed the context for this paper examines the concept of luxury value, and how and why the value of patina has been replaced by fashion. Luxury goods are aspirational items often emulated in the bulk of mass production. If we are to alter behaviour around consumption, one approach might be to use technology to harvest patina as a way to retain emotional, symbolic and poetic value with a view to maintaining a relationship with the things we buy

High speed television camera system processes photographic film data for digital computer analysis

Data acquisition system translates and processes graphical information recorded on high speed photographic film. It automatically scans the film and stores the information with a minimal use of the computer memory

Space fragment in studies of the Earth

The fragment apparatus, mounted on board the artificial earth satellite Meteor, was created for the operational study of the natural resources of the Earth in the optical range of electromagnetic waves. The orbit of the satellite at an altitude of about 650 km makes it possible to observe the same sectors of the Earth's surface at the same time of day with a periodicity of 15 days

Digitization, Donor Relations, and Undergraduate Instruction

Collection development archivists know that building a partnership with a potential donor may take years, occasionally decades. From the perspective of a donor, contributing unique materials to an archival repository – a local historical society, academic archives, or a research library – can be an emotionally complicated process. A donor must have acquired a degree of separation from the material, but also have a deep sense of trust in the repository soliciting the records. Often, the initial contribution to a repository consists of records void of sentimental or financial value. As the relationship between a donor and a repository strengthens, donors (hopefully) begin contributing more noteworthy and revealing materials, including personal correspondence, diaries, and photographs. This scenario is routine not only with the acquisition of personal papers, but the records of businesses, membership organizations, and all other kinds of archival records

Biocontamination and particulate detection system

A method for determining the characteristics and amount of microscopic contaminants lodged on a photographed surface is disclosed. An image enhanced full color photographic negative and print are taken of the contaminated surface. Three black and white prints are developed subsequently from red, green and blue separation filter overlays of the color negative. Both the color and three monochromatic prints are then scanned to extract in digital form a profile of any contaminant possibly existing on the surface. The resulting profiles are electronically analyzed and compared with data already stored relating to known contaminants