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El trabajo de investigación que se presenta es un acercamiento a tres grandes recursos gráficos de la sociedad post digital; hablamos de la fotografía, la ilustración y la tipografía. Entre los objetivos principales se muestra un recorrido histórico para entender la longevavida de estos medios, su pervivencia y continua adaptación a los tiempos. La enumeración de algunos de los grandes hitos nos sirve para explicar su continua adaptación a los medios, a la tecnología y a la sociedad en general en un mundo globalizado donde la imagen tiene un poder persuasivo exacerbado. Sin duda, las imágenes, la publicidad y los anuncios que se han ido generando en momentos determinados de la historia actual son muy ilustrativos del protagonismo de estos en el desarrollo de grandes acontecimientos, quedando pues, con el paso de los años, una imagen residual vinculada al hecho en sí. Mostraremos algunos ejemplos concretos que han superado la función inicial para la que fue creada la imagen, la ilustración o la tipografía. Como conclusión, se insiste en la relevancia de estos recursos en la cultura visual actual hasta la era post digital, explicando cómo se insertan y conviven en los soportes y medios de comunicación de nuestro presente inmediato.AbstractThe research work presented here is an approach to three major graphic resources of the post-digital society: photography, illustration, and typography. The main objectives include a historical journey to understand the long life of these media, their survival and continuous adaptation to the times. The enumeration of some of the major milestones explains their continuous adaptation to the media, technology, and society in general in a globalized world where the image has an exacerbated persuasive power. Undoubtedly, the images, publicity, and advertisements that have been generated at specific moments in history today are very illustrative of the leading role they have played in the development of major events, leaving, over the years, a residual image linked to the event itself. We will show some specific examples that have gone beyond the initial function for which the image, illustration, or typography was created. In conclusion, we will insist on the relevance of these resources in today's visual culture up to the post-digital era, explaining how they are inserted and coexist in the supports and media of our immediate present.

IR’s visual turn has emphasised visual analysis over visual method, centring images of war and crisis. Meanwhile security studies centres great power politics and moments of rupture. Together, they reinforce a dominant image of security as spectacular. This article unites two ethnographic projects focused on everyday security: one examining everyday security landscapes in China, and one examining health security at the UK border. Both found a gap between the dominant image of security and what we saw, and explored this gap through photography. Building on the everyday and visual turns, the article introduces interpretive photography as method to make two contributions. The first is methodological: it introduces interpretive photography as a distinct critical qualitative method that operates on five modes: enabling the seeing-capturing-making-sharing of visual artefacts, it also disrupts dominant visions and contributes to the construction of international relations. The second contribution is empirical: a deeper, richer account of what security looks like. While the discipline associates security with emergency politics or a state of exception, Nyman’s photographs show the exception-made-everyday, while Ferhani’s photos reject the exception by showing banal routines. In this way, photography engages the visuality of security, and can change how we see security.

A 30-year-old man was referred by a general ophthalmologist for retina examination owing to his high myopia status. His presenting visual acuity in the right eye was 6/6 with a refraction of −2.75 dioptre sphere (DS), −2.75 dioptre cylinder (DC) at 170° and that in the left eye was 6/9 with a

Lors du couronnement de Hailé Sélassié Ier à Addis-Abeba en novembre 1930, des photographies ont été prises pour transmettre les fondements de l’idéologie royale éthiopienne. Sur la scène médiatique internationale, le souverain incarnait une représentation alternative du pouvoir politique et un symbole d’indépendance dans l’Afrique colonisée. Cet article analyse la vie politique et sociale de ses portraits aux États-Unis et en Jamaïque. Il questionne leur agentivité dans d’autres contextes culturels, en portant une attention particulière à la matérialité des images, aux discours et pratiques qu’elles ont suscités, en particulier lors de la genèse du mouvement rastafari. Nous soutenons que la photographie a permis de créer des repères visuels partagés de part et d’autre de l’Atlantique, en bouleversant le champ connotatif associé au phénotype noir, en appuyant le renversement symbolique des rapports de domination et en nourrissant la création de nouvelles identités collectives. In November 1930, during the coronation of Hailé Sélassié in Addis-Abeba, photographs were taken in order to relay the principles of the royal Ethiopian ideology. For the international media, the sovereign embodied an alternative representation of political authority and a symbol of independence in colonized Africa. This article analyzes the political and social life of his portraits in the United States and Jamaica. It questions their agency in other cultural contexts, and carries particular focus to the material side of images, to the discourse and practices they generated, especially during the beginning of the Rastafari movement. We maintain that photography allowed to create visual landmarks shared on both sides of the Atlantic, disrupting the meanings associated with the black phenotype, supporting the symbolic reversal of power relations and encouraging the establishment of new group identities.

La obra del fotógrafo japonés Tatsuya Tanaka (1981) ha suscitado mucho interés en los últimos tiempos. Su discurso parte de la metáfora visual (de la que tantos fotógrafos han bebido a lo largo de la historia desde los inicios de la fotografía, y especialmente en las vanguardias) pero, a diferencia de éstas, la circunscribe a un entorno cultural netamente japonés: con unas miniaturas que pueblan sus imágenes que vinculan su obra al mitate artesanal nipón, y a los dioramas que ya formulara Daguerre, que reconstruían escenas sugerentes de la vida cotidiana. Estudiaremos cuatro piezas con una metodología consistente en análisis fotográfico, y una entrevista exclusiva que nos ha concedido el propio autor. Nuestras conclusiones son que su propuesta es radicalmente referencial, que entronca con la tradición artística japonesa más atávica pero que, sin embargo, es profundamente generacional y pensado para un público seguidor de los social media, especialmente instagram, donde Tatsuya Tanaka acumula más de 4 millones de seguidores con solo tres libros publicados. The work of the Japanese photographer Tatsuya Tanaka (1981) has recently attracted a great deal of interest. His discourse is based on the visual metaphor (from which so many photographers have drawn throughout history since the beginnings of photography, and especially in the avant-garde) but, unlike the latter, he confines it to a distinctly Japanese cultural environment: with miniatures that populate his images, linking his work to Japanese artisanal mythology, and to the dioramas formulated by Daguerre, which reconstructed suggestive scenes of everyday life. We will study four pieces with a methodology consisting of photographic analysis and an exclusive interview granted to us by the author himself. Our conclusions are that his proposal is radically referential, that it connects with the most atavistic Japanese artistic tradition but that, nevertheless, it is profoundly generational and designed for an audience that follows social media, especially instagram, where Tatsuya Tanaka has accumulated more than 4 million followers with only three published books.

Sharing photographs and photo-chatting are common practices in doing family at a distance. This study looks at the processes of the production and circulation of photographs within the family network, analysing participants’ narratives about their image-based communication in WhatsApp. The data was collected as an ethnographic enquiry into the digitally mediated (transnational) family communication of five Polish women and their children living in Finland. It consists of five auto-driven visual elicitation interviews with an interactive collage, three elicitation interviews, with the participant’s smartphone used for fast reference to their in-app chats, and one semi-structured interview. The in-app photographs are explored as ‘imagetext’, that is, visual and verbal representations that create the WhatsApp ‘iconology’ of family visual communication. In participants’ narratives, photographs are regarded as an obligation (always to be sent to somebody), evidence (of being somewhere or achieving something), or a form of visual co-presence with living-apart relatives. Photo-chatting entertains (images of pets), provides expertise (snaps of medication), or is used to show off (photos taken at competitions). Photo-chatting helps to maintain family relationships by showing affection, comforting, and caring over a distance. peerReviewed

U radu se donose pregled, temeljna obilježja i klasifikacija fotografija koje se čuvaju u zbirkama i fondovima Državnog arhiva u Gospiću kao posebne vrste gradiva koja je iznimno vrijedno vrelo za proučavanje povijesti Like. U tom smislu donosi se i osvrt na razglednice s ličkim motivima na primjeru Zbirke razglednica. Posebna pozornost posvećena je procesima prikupljanja, arhivističkog sređivanja i obrade, čuvanja i zaštite te načina korištenja fotografija. Uzevši u obzir obilježja suvremenoga doba i za njega karakterističnih medija, obrađen je pojam digitalne fotografije, njezine zastupljenosti u korpusu fotografija Državnog arhiva u Gospiću te arhivističkih postupaka vezanih za njezinu obradu, čuvanje i korištenje., This paper provides an overview, basic features and classification of photographs that are kept in the collections and fonds of the State Archive in Gospić as a special type of material that presents an extremely valuable source for studying the history of Lika. In that sense a review of postcards with motives of Lika are given in the example of the Postcard collection. Special attention is dedicated to the processes of collection, archival organisation and processing, their storage and protection and the manner of use. Taking into account the features of the modern age and its characteristic media, the phenomenon of digital photography is processed and the representation in the corpus of photographs in the State Archive in Gospić also archival procedures related to its processing, storage and use.

Las relaciones entre fotografía y cine se ubican en una intersección interdisciplinar de los lenguajes artísticos de ambos medios, a la vez, opuestos y complementarios. En este trabajo, nos acercamos a la fotografía como recurso fílmico vinculado a la detención del tiempo y la creación de la memoria individual y colectiva en el discurso cinematográfico. En concreto, se examina la vinculación entre fotografía y cine en la obra de Wes Anderson, tomando su última película, La Crónica Francesa (2021), como caso de estudio. A partir de los trabajos previos de otros autores se ha elaborado una plantilla de análisis, la cual nos ha permitido distinguir la consideración de la fotografía como esencia constitutiva del filme a través de la detención de los elementos profílmicos de la puesta en escena. Del análisis se extrae que el empleo de la fotografía es un recurso narrativo frecuente en el cine de Wes Anderson, como parte de las puestas en abismo y la autoconsciencia de la representación, a la vez que presenta implicaciones semióticas en relación con la memoria y el paso del tiempo. The connections between photography and film are located at an interdisciplinary intersection of the artistic languages of both media, simultaneously opposed and complementary. In this paper, we approach photography as a filmic resource tied to the detention of time and the creation of individual and collective memories in cinematic discourse. Specifically, we aim to examine the link between photography and cinema in Wes Anderson's work, taking his latest film, The French Dispatch (2021), as a case of study. Based on previous work by other authors, a model of analysis chart applicable to any film has been developed, which has allowed us to distinguish the photographic resources used by Anderson in the feature film examined. From the latter, it stands out the consideration of photography as the constitutive essence of the film through the detention of the filmic elements of the mise-en-scène. The analysis shows that the use of photography is a frequent narrative resource in Wes Anderson's films as part of the mise-enabyme and self-consciousness of representation, while at the same time presenting semiotic implications in relation to memory and time.

La Cartilla escolar antifascista diseñada por Mauricio Amster (1907-1980) en 1937 se ha convertido en un valioso testimonio del proyecto educativo republicano emprendido durante la Guerra Civil española. El objetivo de este texto es revisar algunas interacciones entre diferentes imágenes y técnicas relacionadas con la cartilla de alfabetización, prestando atención a la performatividad de las imágenes y su potencial. The Antifascist school booklet designed by Mauricio Amster (1907-1980) in 1937 have become valuable testimony to the republican educational project undertaken during the Spanish Civil War. The purpose of this article is to inspect some interactions between different images and techniques related to the literacy primer, with attention to the performativity of images and their potential.

The aim of this article is to present photography as an effective method for exploring abandoned heritage sites. The example of Pripyat - a city a few kilometres away from the Chernobyl Nuclear Power Plant - will show the attitude of tourists towards a place which today is of undoubted cultural and historical value, but which is also an abandoned place. By means of semiotic and hermeneutic analysis of the photographs taken by tourists, a picture of Pripyat will be outlined, which has started to function anew in the cultural space thanks to, among others, tourist representations. A tourist’s gaze on Pripyat was analysed through the lens of four categories: must-see places, tourist performativity behaviours, the acts and ruin photos. In addition, the article outlines the direct relationship between the tourist imagination, photography, and heritage. Through tourist photography, the heritage is ‘reframed’ and domesticated. Photography also takes an active part in the process of making heritage by fragmenting the world and often putting them into a completely new context and narration and an example is abandoned Pripyat.

The advent of cellular network technology has increased the use of photography in the clinical setting. This article reviews several areas regarding protected health information (PHI) and the use of video: the 1996 Health Insurance Portability and Accountability Act (HIPAA); The Joint Commission requirements for the use of images; areas of concern for exchanging PHI with law enforcement at the bedside, and the need for the development of formal guidelines regarding the use of video in the clinical setting.

RESUMO O artigo apresenta uma análise das fotografias de Mário de Andrade vestido com o robe de chambre em casa. Guardado no Arquivo do IEB, o “Lote Mário de Andrade em casa” tem nove documentos fotográficos que retratam o autor de Pauliceia desvairada com o robe de chambre em casa, sempre em ação. Nas cenas fotografadas, o intelectual está cercado de obras de arte, livros, objetos de estudo e trabalho. Ao repassar as publicações por onde essas fotos circularam, pretendi analisar os regimes de visibilidade da imagem do escritor projetada por Mário de Andrade nessas fotografias, e a política da pose no sentido de afirmação do lugar do intelectual. Trata-se de uma pesquisa incipiente, a ser desenvolvida no âmbito do programa de pós-doutorado do Instituto de Estudos Brasileiros da USP. ABSTRACT The article presents an analysis of photographs of Mário de Andrade dressed in a robe at home. Stored in the IEB Archive, the “Lot Mário de Andrade at home” has nine photographic documents that portray the author of “Pauliceia desvairada” in his dressing gown at home, always in action. In the photographed scenes, the intellectual is surrounded by works of art, books, objects of study and work. By reviewing the publications through which these photos circulated, I intended to analyze the regimes of visibility of the writer's image projected by Mário de Andrade in these photographs, and the policy of the pose in the sense of affirming the place of the intellectual. This is an incipient research, to be developed within the scope of the postdoctoral program at the Instituto de Estudos Brasileiros USP.

This article proposes to compare the two versions of Dermot Bolger’s novel, and to show how A Second Life: A Renewed Novel (2010) reflects the changes which have taken place in Ireland between 1993 and 2010. Little was Dermot Bolger to know that over a decade after the reworked novel’s publication, the Final Report of the Commission of Investigation into Mother and Baby Homes (2021) would still have failed to answer some of the questions raised in both his 1994 and 2010 editions of the novel. Of the changes introduced when Dermot Bolger gave a second life to the novel, some are entirely new sentences or longer passages; others are tweaks of the original giving them a slightly different twist; others are suppressions of words or whole sentences. Some simply reflect a greater sensitivity in the choice of words, such as the systematic replacement of “real mother” with “birth mother”. The changes this article aims to understand fall into three categories: a greater insistence on the situation of unmarried mothers and the shame they were made to feel; passages which aim to home in on how the country allowed the situation to endure for such a long time, and how that situation has (and has not) changed in the Ireland of 2010. Finally, a number of both subtle and more significant changes reflect an increased understanding in 2010 of the suffering for both mothers and adopted children around not knowing the truth. This desperate need to know and to have proof or evidence which will back up this knowledge takes on a particular sheen for the narrator-protagonist whose profession as photographer is tied up with the evidential role understood to be played by photography. Cet article propose de comparer les deux versions du roman de Dermot Bolger A Second Life, et de montrer comment ce roman reflète les changements qui ont eu lieu en Irlande entre l’édition de 1994 et celle de 2010. Dermot Bolger était alors loin de se douter que, plus de dix ans après la publication du roman remanié, le rapport final de la Commission d’enquête sur les Mother and Baby Homes n’aurait toujours pas répondu à certaines des questions soulevées dans les éditions de 1994 et de 2010 du roman. Parmi les changements introduits lorsque Dermot Bolger a donné une seconde vie au roman, certains sont des phrases entièrement nouvelles ou des passages plus longs ; d’autres sont des retouches de l’original leur donnant une tournure légèrement différente ; d’autres encore sont des suppressions de mots ou de phrases entières. Certains reflètent simplement une plus grande sensibilité dans le choix des mots, comme le remplacement systématique de « vraie mère » par « mère biologique ». Les changements que cet article analyse se répartissent en trois catégories : une plus grande insistance sur la situation des mères célibataires et la honte qu’elles ont dû ressentir ; des passages qui visent à mettre en évidence comment le pays a laissé perdurer cette situation pendant si longtemps, et comment cette situation a (et n’a pas) changé dans l’Irlande de 2010. Enfin, un certain nombre de changements à la fois subtils et plus significatifs reflètent une meilleure compréhension en 2010 de la souffrance des mères et des enfants adoptés de ne pas connaître la vérité. Ce besoin désespéré de savoir et d’avoir des preuves ou des témoignages qui étayent cette connaissance prend un éclat particulier pour le narrateur-protagoniste dont la profession de photographe est étroitement liée à l’idée que la photographie peut fournir une preuve irréfutable.

This article focuses on the acronyms and related items, namely abbreviations, alphabetisms, blends, and clippings in the language of photography, a field that has not yet been previously examined. Numerous studies have dealt with these word-formation processes in the general language and, although to a lesser extent, in the different specialized languages. To date, despite the ubiquitous presence of photography in the modern world, no research has addressed the use of these categories in the language of photography, as one of many fields of ESP. This paper intends to fill this gap and to identify, analyze and classify acronyms, alphabetisms, abbreviations, blends, and clippings in the photography discourse focusing on their structure and characteristics. To fulfill this objective a corpus-based approach was followed. The data was gathered from professional photography blogs providing authentic up-to-date lexis. The results suggest that these categories abound in the language of photography. Although to a different extent, there are acronyms (e.g., lomo, gobo), alphabetisms (e.g., DSLR, TLR, HDR), abbreviations (e.g., Mpx, fps, mm), blends (squinch, digicam), and clippings (e.g., photog, cam, pano), apart from peripheral cases (e.g. 4K, B&W, RAW, L*a*b*) and hybrid categories (e.g. PNG, Jpeg, EOS, GAS). Este artículo se centra en los acrónimos y en categorías vecinas, en concreto, las abreviaturas, alfabetismos, cruces léxicos y acortamientos en el lenguaje de la fotografía, un campo que todavía no ha sido examinado. Numerosos estudios han tratado estos procesos de formación de palabras en el lenguaje general y, en menor medida, en los distintos lenguajes especializados. Hasta el momento, a pesar de la omnipresencia de la fotografía en el mundo moderno, ninguna investigación ha abordado el uso de estas categorías en el lenguaje de la fotografía, entendido como uno de los numerosos campos de Inglés para Fines específicos. este artículo pretende cubrir esta laguna e identificar, analizar y clasificar los acrónimos, alfabetismos, abreviaturas, cruces léxicos y acortamientos en el discurso de la fotografía, con especial atención a su estructura y características. para cumplir con este objetivo se siguió un enfoque basado en corpus. Los datos se recopilaron de blogs de fotografía profesionales que muestran un léxico auténtico y actualizado. Los resultados sugieren que estas categorías abundan en el lenguaje de la fotografía. Aunque en diferente medida, existen acrónimos (p. ej., lomo, gobo), alfabetismos (p. ej., DSLR, HDR), abreviaturas (p. ej., Mpx, mm), cruces léxicos (squinch, bit) y acortamientos (p. ej., photog, cam), además de algunos casos periféricos (p. ej., B&W, RAW, L*a*b*) y categorías híbridas (p. ej., PNG, Jpeg).

In this article, I propose to examine how prosopopoeia might be identified in some of André Kertész’s final photographic works, not only in the recourse of a glass figurine, that stood-in for his late-wife, Elizabeth, but also through the analysis of his choice of medium, the Polaroid: an image that holds a distinct material existence, small enough to share, and captivating in its instant development before one’s eyes. Additionally, I will consider the association of prosopopoeia and death, as a literary figure that gives voice to those that have lost it, but also in the very mourning process for Kertész.

Este texto é parte de uma pesquisa mais ampla, aprovada pelo CNPq, que busca investigar as relações entre arte, comunicação, tecnologia e educação. A partir de autores que subsidiam a importância da renovação das posturas ligadas à educação e ao conhecimento, apresenta uma metodologia de pesquisa interativa e multilinguagem que, criada nos anos 1990, recebeu o nome de Foto Voz. Integrando registro de imagens fotográficas, reflexão e discussão de situações-problema, essa metodologia tem sido utilizada em pesquisas que visam a intervenção social, com propostas ligadas à cultura dos participantes, à sua percepção da realidade e à sua subjetividade. This study belongs to a broader research, approved by CNPq, which seeks to investigate the relation between art, communication, technology, and education. Based on authors who support the importance of renewing attitudes toward education and knowledge, it shows an interactive and multilingual research methodology which was named Foto Voz and created in the 1990s. Integrating the recording of photographic images and reflection and discussion of problematic situations, research has aimed this methodology at social interventions with proposals linked to participants’ culture, perception of reality, and subjectivity. Este texto forma parte de una investigación más amplia, aprobada por el CNPq, que busca investigar la relación entre arte, comunicación, tecnología y educación. Basado en autores que defienden la importancia de renovar actitudes relacionadas con la educación y el conocimiento, presenta una metodología de investigación interactiva y multilingüe que, creada en la década de 1990, recibió el nombre de Foto Voz. Integrando el registro de imágenes fotográficas, la reflexión y discusión de situaciones problema, esta metodología ha sido utilizada en investigaciones dirigidas a la intervención social, con propuestas vinculadas a la cultura de los participantes, su percepción de la realidad y su subjetividad.

Acne lesion counting (ALC) is widely used to evaluate efficacy of new acne treatments. Although such evaluations are precise and highly discriminative, if assessed live, it can be a time-consuming and intrusive measurement. Photographic assessment is a viable mode for ALCs and for training and/or qualifying evaluators.The purpose of this study was to validate photographic methods for performing ALCs and to provide an objective measurement tool to train and/or qualify lesion count evaluators for deployment in both small- and large-scale studies.Assess accuracy and reliability of acne lesion counting via photographic methods in 8 subjects aged 16 to 40 years, with Fitzpatrick Skin Types I to VI. Frontal and 45°angle images taken at the single in-clinic visit. Each subject underwent 3 counts per 4 evaluators: 1 set of live counts and 2 sets of photo counts. Intra-evaluator and inter-evaluator reliability measures for photo counts were evaluated using calculations of intraclass correlation coefficients (ICCs).Eight subjects (2 males and 6 females) age between 16 and 40 (min 16 years, max 25 years) diagnosed with facial acne vulgaris participated in the study. Fitzpatrick Skin Types ranged from III to V (three Type-III, four Type-IV, and one Type-V). ICC values for intra-evaluator reliability were found to be0.95 for each evaluator, and ICC for inter-evaluator reliability was found to be 0.98.Photographic lesion count methodology is a reliable and accurate tool for objective measurement of ALCs and additionally, for training and/or qualifying evaluators.

This article focuses on the work of Jewish Austrian photographer Dora Kallmus, also known as Madame d’Ora, the name she assumed in 1907 when she opened what was to become one of the most important photography studios in Vienna. In the 1920s, Kallmus opened a studio in Paris, where she excelled as an innovative fashion photographer and created portraits of the leading cultural figures of her time. This article centres on the dramatic shift in the kinds of images Kallmus created in the aftermath of the Second World War, when she photographed people in refugee camps in Austria, and in the abattoirs of Paris where Kallmus spent the final decade of her life creating a series of photographs of dying and dead animals. In order to understand these photographs and their powerful affective charge, the article argues that it is necessary to consider them not only in relation to the body of work Kallmus produced before the war, but to read them in relation to the catastrophic events that effectively destroyed both her life and the social world she inhabited. I read these images as an expression of Kallmus’ views on society and the practice and meaning of photography in the aftermath of the death camps, and compare this to the post-war thought of political theorist Hannah Arendt. Through my readings of Kallmus’ slaughterhouse series, I seek to show not only how the images reveal the photographer’s own psychic pain but also insist on a confrontation with the painful truth of the Shoah. The desire to avoid this painful reckoning, I argue, provides a reason for why this series has been largely ignored for the last six decades.

We aimed to develop a deep learning model for detecting and localizing retinal breaks in ultrawidefield fundus (UWF) images.We retrospectively enrolled treatment-naive patients diagnosed with retinal break or rhegmatogenous retinal detachment and who had UWF images. The YOLO v3 architecture backbone was used to develop the model, using transfer learning. The performance of the model was evaluated using per-image classification and per-object detection.Overall, 4,505 UWF images from 940 patients were used in the current study. Among them, 306 UWF images from 84 patients were included in the test set. In per-object detection, the average precision for the object detection model considering every retinal break was 0.840. With the best threshold, the overall precision, recall, and F1 score were 0.6800, 0.9189, and 0.7816, respectively. In the per-image classification, the model showed an area under the receiver operating characteristic curve of 0.957 within the test set. The overall accuracy, sensitivity, and specificity in the test data set were 0.9085, 0.8966, and 0.9158, respectively.The UWF image-based deep learning model evaluated in the current study performed well in diagnosing and locating retinal breaks.

Gobius ater Bellotti, 1888 is the Mediterranean gobiid species whose live appearance has remained unknown the longest since its description. A goby observed in southern France in 2021 is here identified as G. ater based on a diagnosis of morphological characters visible on high-quality underwater photographs. Then, the authors provide the first description of colouration in live G. ater and a species diagnosis based on colouration. This diagnosis allows the authors to validate a previous photographic record, also from France. Reviewing all claims of G. ater, they argue that only seven records are unambiguously valid, including the two photographic records presented here.

In order to evaluate the accuracy of commercially available handheld fundus cameras for a variety of ophthalmic diagnoses, we conducted a systematic review, searching PubMed and PubMed Central and performing a bivariate analysis to determine the pooled sensitivity and specificity of handheld fundus cameras. Eleven studies validating handheld fundus cameras against a gold-standard method for disease diagnosis were included. For nonmydriatic images, pooled sensitivity was 83% (95% confidence interval (CI): 77-88%) and specificity was 92% (95% CI: 79-97%). For mydriatic images, pooled sensitivity was 87% (95% CI: 79-92%) and specificity was 90% (95% CI: 78-96%). Overall pooled sensitivity was 85% (95% CI: 80-89%) and specificity was 91% (95% CI: 83-95%). Of the 11 studies included, 5 assessed the diagnosis of diabetic retinopathy, for which sensitivity was 87% (95% CI: 80-92%) and specificity was 95% (95% CI: 85-98%). For all other diagnoses combined, sensitivity was 81% (95% CI: 74-87%) and specificity was 83% (95% CI: 76-89%). These findings suggest that handheld fundus cameras are capable of achieving acceptable sensitivity and specificity values for eye disease, with mydriatic images being more sensitive for disease. Diabetic retinopathy was the single diagnosis with the strongest data to support the use of handheld fundus cameras for disease screening.

To discuss a standardized methodology for wound photography with a focus on aiding clinicians in capturing high-fidelity images.This continuing education activity is intended for physicians, physician assistants, nurse practitioners, and nurses with an interest in skin and wound care.After participating in this educational activity, the participant will be able to:1. Discriminate the components of high-quality wound photography.2. Identify the technological innovations that can augment clinical decision-making capacity.3. Choose strategies that can help clinicians avoid adverse medicolegal outcomes.According to a 2018 study, chronic wounds affect more than 8 million Americans and impose a substantial economic burden, with costs of care reaching upward of US $30 billion. As demographics in the US shift toward an aging population, these numbers are likely to progressively increase annually. Care of these patients relies heavily on photographic documentation, which catalogs disease progression and informs management decisions. This article elaborates a standardized methodology for wound photography and aims to aid clinicians in capturing high-fidelity images. Technological advancements, notably digital cameras and smart phones, have exponentially improved both the rate and quality of wound photography, but their potential has yet to be fully realized. Despite the indispensable nature of wound photography, literature detailing the photography process remains sparse. The absence of a standardized methodology for wound photography leads to subpar documentation, which ultimately hinders patient care. Further, information regarding medicolegal implications of wound photography remains fragmented and opaque to many clinicians. The authors provide a comprehensive overview of best practices in wound photography, medicolegal considerations, and an overview of emerging technologies. Photographic documentation is indispensable in the management of chronic wounds. Capturing consistent, high-fidelity images requires the adoption of standardized protocols. Emerging technologies, such as three-dimensional imagery, biosensors, and artificial intelligence, are poised to profoundly alter wound photography in the future. However, standardized protocols informed by sound clinical judgment will remain of paramount importance.

Resumo: Este artigo tem como fonte histórica o filme “Pelo Paraná maior”, produzido pelo governo do Paraná em 1927, que divulgou o estado, a economia e parte da instrução pública e de alguns estabelecimentos de ensino da época. Aborda aspectos da cultura material escolar explorando alguns elementos visuais como o mobiliário, os uniformes, a arquitetura, a organização da escola e os ritos, propondo relações com a retórica da modernidade, da educação, bem como com o movimento da Escola Nova. Para análise, são utilizadas referências teóricas vinculadas à perspectiva crítica da modernidade de Marshall Berman; da cultura escolar, com Dominique Julia; da cultura material escolar, com Eliane Peres e Gizele de Souza e Agustín Escolano Benito; e da Escola Nova, com Diana Gonçalves Vidal. Discute-se ainda a história cultural a partir de Roger Chartier e a história transnacional com Martin Lawn. Resumen: Este artículo tiene como fuente histórica la película “Pelo Paraná maior”, producida por el gobierno de Paraná en 1927, que divulgaba el estado, la economía y parte de la educación pública y algunos establecimientos educativos de la época. Aborda aspectos de la cultura material escolar explorando algunos elementos visuales como el mobiliario, los uniformes, la arquitectura, la organización escolar y los ritos, proponiendo relaciones con la retórica de la modernidad, la educación y el movimiento Escuela Nueva. Para el análisis se utilizan referentes teóricos vinculados a la perspectiva crítica de la modernidad de Marshall Berman, la cultura escolar con Dominique Julia, la cultura material escolar con Eliane Peres y Gizele de Souza y Agustín Escolano Benito y la Escola Nova con Diana Gonçalves Vidal. Discute la historia cultural de Roger Chartier y la historia transnacional con Martin Lawn. Abstract: This article is based on the film “Pelo Paraná maior”, produced by the government of Paraná in 1927, which presented information about the state, its economy, part of public education, and some educational establishments at the time. The text addresses aspects of school material culture, exploring visual elements such as furniture, uniforms, architecture, school organization, and rites, proposing relationships with the rhetoric of modernity, education, and Escola Nova. In the analysis, we use theoretical references linked to the perspective of modernity studies by Marshall Berman, school culture by Dominique Julia, school material culture by Eliane Peres, Gizele de Souza, Agustín Escolano Benito, and Escola Nova by Diana Gonçalves Vidal. We also ground the text on Roger Chartier's approach to cultural history and the transnational one by Martin Lawn.

Éduquer le regard du travailleur par la pratique photographique : tel était l’objectif des associations de photographie ouvrière fédérées en Allemagne par Willi Münzenberg entre 1926 et 1933. Mais comment ce discours sur l’éducation se distingue-t-il de son précédent libéral, l’enseignement artistique fondé sur l’idéal de Bildung ? C’est qu’un pas fut franchi entre le triomphe de l’individu dans l’expression artistique prôné dans la période wilhelminienne et l’Erziehung communiste, qui visait moins l’épanouissement de chacun que l’intériorisation par tous d’un habitus visuel de la classe ouvrière. Educating the worker’s eye by the practice of photography: this was the objective of the workers’ photography associations that Willi Münzenberg federated in Germany between 1926 and 1933. But how did this educational discourse distinguish itself from its liberal predecessor, the artistic teaching that centered on the Bildung ideal? By moving beyond the artistic triumph of the individual promoted in the Wilhelmine period and towards communist Erziehung, which aimed less at personal realization than at the internalization of a working class visual habitus.

Cet article analyse la façon dont certains artistes s’écartent du motif traditionnel de la ruine grandiose multiséculaire, en photographiant des vestiges qui ne sont plus anciens. Certains réhabilitent toutefois l’esthétique du pittoresque et s’emploient à recenser les traces d’un passé récent, rejoignant par cet aspect l’archéologie industrielle. D’autres interrogent davantage les sociétés actuelles et ce qu’elles sont en train de laisser derrière elles, déployant une forme de temporalité métaphorique que l’on pourrait nommer « archéologie du présent ». This paper analyzes the way in which certain artists deviate from the traditional motif of the grandiose centuries-old ruin, by photographing remains that are no longer ancient. While some of them rehabilitate the aesthetics of the picturesque and work to identify the traces of a recent past, in the manner of industrial archeology, others are more concerned with current societies and what they leave behind them, deploying a form of metaphorical temporality that could be called "archeology of the present".

“Chernobyl” has become synonymous with the deathly dangers of radiation, a word evoking fear and horror that continues to color the meaning of the ruined remains at the center of the exploded reactor n° 4 in the so-called “Zone of Exclusion.” At the same time, over the past dozen years—until the war in Ukraine in 2022—the site has been a magnet attracting a steady stream of “dark tourism” and “stalkers” who want to get as close as possible to what they imagine Chernobyl represents. Using photographic representation and other visual media, along with historical sources, this article explores Chernobyl (the old Sarcophagus, the New Arch, and the ruins of Pripyat) as a composite cultural symbol embodying the contradictions of utopia and dystopia and as a monument to the failures of authoritarian epistemology. Le nom de "Tchernobyl" est devenu synonyme du danger mortel des radiations et évoque la peur et l'horreur que représentent les vestiges laissés par l’explosion au centre du réacteur n° 4, au sein de ce que l’on appelle la "zone d'exclusion". Parallèlement, au cours des douze dernières années, - jusqu'à la guerre en Ukraine en 2022 - le site a attiré un flux constant de "thanatouristes" et d’individus animés par une fascination morbide pour ce qu’ils imaginent de la catastrophe de Tchernobyl. Sur la base de représentations photographiques et d'autres médias visuels, ainsi que de sources historiques, cet article explore le site de Tchernobyl (l'ancien sarcophage, la nouvelle arche et les ruines de Pripyat) comme un symbole culturel composite incarnant les contradictions de l'utopie et de la dystopie et comme un monument aux échecs de l'épistémologie autoritaire.

Historical photographs can generate significant cultural and economic value, but often their subjects go unidentified. However, if analyzed correctly, visual clues in these photographs can open up new directions in identifying unknown subjects. For example, many 19th century photographs contain painted backdrops that can be mapped to a specific photographer or location, but this research process is often manual, time-consuming, and unsuccessful. AI-based computer vision algorithms could be used to automatically identify painted backdrops or photographers or cluster photos with similar backdrops in order to aid researchers. However, it is unknown which computer vision algorithms are feasible for painted backdrop identification or which techniques work better than others. We present three studies evaluating four different types of image embeddings – Inception, CLIP, MAE, and pHash – across a variety of metrics and techniques. We find that a workflow using CLIP embeddings combined with a background classifier and simulated user feedback performs best. We also discuss implications for human-AI collaboration in visual analysis and new possibilities for digital humanities scholarship. Master of Science Historical photographs can generate significant cultural and economic value, but often their subjects go unidentified. However, if these photographs are analyzed correctly, clues in these photographs can open up new directions in identifying unknown subjects. For example, many 19th century photographs contain painted backdrops that can be mapped to a specific photographer or location, but this research process is often manual, time-consuming, and unsuccessful. Artificial Intelligence-based computer vision techniques could be used to automatically identify painted backdrops or photographers or group together photos with similar backdrops in order to aid researchers. However, it is unknown which computer vision techniques are feasible for painted backdrop identification or which techniques work better than others. We present three studies comparing four different types of computer vision techniques – Inception, CLIP, MAE, and pHash – across a variety of metrics. We find that a workflow that combines the CLIP computer vision technique, software that automatically classifies photo backgrounds, and simulated human feedback performs best. We also discuss implications for collaboration between humans and AI for analyzing images and new possibilities for academic research combining technology and history.

Well (2020) is an installation by Israeli artists Noga Or Yam and Faina Feigin. It investigates the story of an underground passage in Tel Aviv designed by a British Mandate-era Jewish architect. Starting from this building, the artists’ archival research leads them to the story of a water source which does not figure in the architect’s plan. While the story of the well is unearthed, so is one about the tense relations between the Jewish architect and the Palestinian orange merchant who inhabited the site before 1948. By restaging a hypothetical archive, Well reminds us of the problems inherent in narrative formation and erasure in the context of the Palestinian–Israeli conflict. Noga Or Yam also examined space and water in an earlier work, Black Soldier, White Soldier (2018): with the background sound of water drilling in southern Israel, urban photographic landscapes of Palestinian rooftops covered with water tanks are projected onto the walls. Water, either concealed or lacking, emerges in both works as a vehicle for unearthing a historical narrative that counters the official one. This research article reflects on contemporary art’s engagement with the formation of history, and how such engagement shapes the identity of present-day art in postcolonial realities.

Poils pubiens mis en évidence dans ses photographies de nus, de La Bonne Renommée endormie (1938-39) à Tentation chez Antoine (1970) ; chevelures en abondance, tressées dans les portraits de Frida Kahlo ou libres dans Portrait de l’éternel (1935) : ce sont là des invariants du corps féminin vu par le photographe mexicain Manuel Álvarez Bravo. Ils le cachent avec ostentation, contribuant à son inquiétante sensualité. Sans prétendre à l’exhaustivité, cette étude montre comment ces excroissances trichologiques – à l’opposé de la perfection lisse du corps contemporain – nous fascinent et nous dérangent toujours. Car le poil dressé ne révèle-t-il pas notre obscur objet du désir ? Vello público puesto de relieve en sus fotografías de mujeres desnudas, desde La buena fama durmiendo (1938-39) hasta Tentación en casa de Antonio (1970) ; abundantes melenas, trenzadas en los retratos de Frida Kahlo o sueltas en Retrato de lo eterno (1935) : son éstos los invariantes del cuerpo femenino visto por el fotógrafo mexicano Manuel Álvarez Bravo. Lo esconden con ostentación, y contribuyen así a su inquietante sensualidad. Sin pretensiones de exhaustividad, este estudio demuestra cómo esas excrecencias tricológicas –opuestas a la perfección lisa del cuerpo contemporáneo– nos fascinan y nos molestan siempre. Pero, ¿no revela el pelo erguido nuestro oscuro objeto del deseo ? Clearly visible pubic hair in his nude photographs, from Good Reputation Sleeping (1938-39) to Temptations in the House of Antonio (1970); luxuriant hair, braided in the portraits of Frida Kahlo or flowing free in the Portrait of the Eternal (1935): these are the constants of the female body as seen by the Mexican photographer Manuel Álvarez Bravo. They flauntingly hide the body, adding to its worrisome sensuality. Without being exhaustive, this article demonstrates how prominent hair growth –the very opposite of the smooth perfection of the contemporary body– still fascinates and disturbs us. For don’t raised hairs reveal our dark objects of desire?

La lutte contre la syphilis, empreinte d’une forte connotation morale et nationaliste, se recompose durant la première moitié du XXe siècle autour d’une vaste campagne de prophylaxie individuelle. Celle-ci vise à sensibiliser la population générale aux dangers de la syphilis en réaffirmant les normes reproductives, conjugales et sexuelles de l’époque. Cet article interroge le rôle spécifique de la photographie dans cette entreprise. En servant tout à la fois de lieu d’exposition et d’agence de diffusion, le musée de l’hôpital Saint-Louis, qui est alors le siège de la jeune syphiligraphie, devient rapidement le centre névralgique de la propagande imagée contre la syphilis. Ses larges collections de photographies montrant les plus impressionnantes conséquences de la maladie sur les corps sont utilisées afin de véhiculer un sentiment d’effroi face à la syphilis qui participe à sa stigmatisation. Cette stratégie du choc visuel et du dégout semble singulier par rapport aux autres médias mobilisés dans les campagnes de prévention. Néanmoins, les discours que la photographie charrie se déploient différemment selon les personnes visées. Si la syphilis touche massivement toutes les franges de la société, l’examen du corpus au prisme des questions de genre, de race et de classe montre comment les photographies répondent autant à un objectif de prophylaxie que de réaffirmation de l’ordre social. During the first half of the 20th century, the fight against syphilis was recomposed around a vast campaign of individual prophylaxis. This campaign aimed to make the general population aware of the dangers of syphilis by reaffirming the reproductive, marital and sexual norms. This article examines the specific role of photography in this undertaking. By serving as both an exhibition space and a distribution agency, the Hospital Saint-Louis Museum, which was then the headquarters of the young syphilography, quickly became the centre of the visual propaganda against syphilis. Its large collections of photographs showing the most impressive consequences of the disease were used to convey a sense of dread about syphilis that contributed to its stigmatisation. This strategy of visual shock and disgust seems singular compared to other media used in prevention campaigns. Nevertheless, the discourses carried by the photograph are deployed differently depending on the people targeted. While syphilis massively affects all sections of society, the examination of the corpus through the prism of gender, race and class shows how the photographs respond as much to a prophylactic objective as to the reaffirmation of the social order.

This paper discusses the conservation challenges posed by the mixed-media photographic artwork, Revolução, Corpo, Tempo (1978) by Ernesto de Sousa, from Museu Nacional de Arte Contemporânea do Chiado, in Portugal. Due to the artwork's poor condition and an exhibition request, a conservation intervention was needed. However, the definition of a conservation plan was challenging because of the complex and singular creative process of Ernesto and the highly deteriorated exhibition mounting. The lack of existing information led to the start of a research study and to the production of new documentation. This paper examines the gathered knowledge on Ernesto de Sousa's work and case study, and his possible position regarding the artwork’s deterioration and evolution over time – fundamental issues for decision-making in conservation. Based on visual observation, archive research, informal interviews, photo-documentation, infrared spectroscopy, and x-ray fluorescence spectroscopy, this paper discusses the challenges, the methodology and the applied treatment., Este artigo discute os desafios na conservação da obra fotográfica de técnica mista, Revolução, Corpo, Tempo (1978) de Ernesto de Sousa, do Museu Nacional de Arte Contemporânea do Chiado (Portugal). Devido aos danos na obra e um pedido para exposição, foi necessário realizar uma intervenção de conservação. A definição de um plano de conservação foi desafiante devido à falta de informação sobre o complexo e singular processo criativo do autor e aos extensos danos nos elementos da montagem. Este artigo analisa a informação recolhida sobre a obra e o caso de estudo, e discute a possível posição do artista face à deterioração e evolução da obra ao longo do tempo – questões fundamentais para a tomada de decisão em conservação. Através da observação visual, pesquisa em arquivos, entrevistas informais, foto-documentação, espectroscopia de infravermelho e micro-fluorescência de raios X, apresentam-se os desafios, a metodologia e o tratamento realizado.

Cet article porte sur deux exemples de collaboration entre un photographe et un poète : les illustrations photographiques de Julia Margaret Cameron pour Idylls of the King de Tennyson (1874-1875), et l’ouvrage Thoughts of a Night Sea (2002) qui réunit photographies de Garry Fabian Miller et poèmes de Lavinia Greenlaw. La comparaison permet de développer l’idée que les poèmes sont des illustrations textuelles des photographies. L’histoire éditoriale révèle la manière dont les artistes ont conçu le rôle et le statut de leurs contributions à ces publications communes. Le transfert de caractéristiques formelles, thématiques ou narratives d’une forme artistique à l’autre incite à envisager la relation entre poèmes et photographies comme une forme d’adaptation. En s’appuyant sur des concepts de la traduction, on proposera une classification de ces processus d’adaptation comme transpositions ou modulations. Enfin, on examinera les affinités esthétiques en arrière-plan de ces collaborations. This essay focuses on two examples of collaboration between a photographer and a poet: Julia Margaret Cameron’s illustrations to Tennyson’s Idylls of the King (1874-1875), and the volume Thoughts of a Night Sea (2002), with photographs by Garry Fabian Miller and poems by Lavinia Greenlaw. The comparison enables me to characterise Greenlaw’s poems as textual illustrations of Miller’s photographs. The editorial history of the volumes points to how the artists conceived of the role of their contributions and the status of their creations in the finished works. The transfer of formal, thematic, and narrative characteristics from one art form to the other leads me to envision the relationships between the poems and the photographs as forms of adaptation. Borrowing from concepts used in translation studies, I propose to categorise these processes of adaptation as either transpositions or modulations. Ultimately, I examine the aesthetic affinities behind these collaborations.

This article analyses the photobookMonsanto®: A Photographic Investigationby documentary photographer Mathieu Asselin. First, photobooks are addressed from a semiotic perspective, specifically using Roman Jakobson’s functions of language. Then, in this case, the difference between photobooks and photojournalism is understood partly as a matter of time, as photobooks usually report on events that are not current. Next,Monsanto® is considered in relation to the tradition of photobooks on warfare, especiallyAgent Orange:“Collateral Damage”in Viet Namby Philip Jones Griffiths andWar against War!by Ernst Friedrich. Asselin relates victims of war to victims of corporate capitalism, overcoming the colonial difference between Western soldiers and Eastern victims, and delving deeply into the causes of warlike capitalism.Monsanto® also reflects decisions on the limits of photography to show the world and, therefore, on visibility. Unlike Friedrich, Asselin assumes that photography does not have to visually feature everything mentioned in the book. What is more, the captions provide essential information and some photographs are only meant to show what Asselin witnessed. Finally, Nassim Nicholas Taleb’s considerations about evidence are used to understand how photography is meant to be evidence of facts, which could lead pictures to precede and create the event they report., Este artículo analiza el fotolibroMonsanto®: a Photographic Investigationdel fotógrafo documental Mathieu Asselin. En primer lugar, se abordan los fotolibros desde una perspectiva semiótica, especialmente empleando las funciones de Roman Jakobson, y después, en este caso, se entiende parcialmente la diferencia entre fotolibros y fotoperiodismo como una cuestión de tiempo, ya que los fotolibros suelen informar sobre hechos que no están de actualidad. Después, se consideraMonsanto® en relación con la tradición de los fotolibros bélicos, especialmenteAgent Orange: «Collateral Damage» in Viet Nam, de Philip Jones Griffiths, yWar against War!, de Ernst Friedrich. Asselin relaciona a las víctimas de la guerra con las víctimas de las corporaciones capitalistas, superando la diferencia colonial entre los soldados occidentales y las víctimas orientales, y profundizando en las causas del capitalismo bélico.Monsanto® también toma decisiones sobre los límites de la fotografía para presentar el mundo y, por ende, sobre la visibilidad. A diferencia de Friedrich, Asselin asume que la fotografía no tiene que representar visualmente todo lo que se cuenta en el libro, además, los pies de foto brindan información esencial y algunas fotografías solo pretenden mostrar lo que Asselin presenció. Finalmente, se utilizan las consideraciones de Nassim Nicholas Taleb sobre evidencias para comprender cómo la fotografía se destina a ser evidencia de hechos, lo que podría llevar a que las imágenes precedan y creen el evento relatado por ellas.

The Instituto de Arquitetos do Brasil, as a prominent institution in the field of architecture and urbanism, has constituted, throughout its history, a valuable collection of documents. The recent efforts of the team responsible for its collection have recognized the importance of its preservation and, similarly, have discussed the specifics of an archive of architecture and urbanism, considering its constitution in a broad way. Based on the specific case of IABsp, this article intends to make the notions of heritage more complex, as a set of documents of cultural significance, to also understand architecture in a multiple and expanded way, with a dialectical and questioning reflection., El Instituto de Arquitetos do Brasil, como institución destacada en el campo de la arquitectura y el urbanismo, ha constituido, a lo largo de su historia, una valiosa colección de documentos. Los recientes esfuerzos del equipo responsable de su colección han reconocido la importancia de su preservación y, de igual forma, han discutido las particularidades de un archivo de arquitectura y urbanismo, considerando su constitución de manera amplia. Partiendo del caso específico de lo IABsp, este artículo pretende hacer más complejas las nociones de patrimonio, como un conjunto de documentos de significación cultural, para entender también la arquitectura de forma múltiple y expandida, en una reflexión dialéctica y cuestionadora., O Instituto de Arquitetos do Brasil, como instituição de relevo no campo da arquitetura e do urbanismo, constituiu, ao longo de sua história, um valoroso acervo documental. Os recentes esforços da equipe responsável por seu acervo têm reconhecido a importância de sua preservação e, da mesma forma, têm discutido sobre as especificidades de um arquivo de arquitetura e urbanismo, considerando sua constituição de maneira abrangente. A partir do caso específico do IAB-SP, o presente artigo pretende complexificar as noções de patrimônio, enquanto conjunto de documentos de significação cultural, para também entender a arquitetura de forma múltipla e ampliada, numa reflexão dialética e questionadora.

Les travaux de la photographe Dominique Auerbacher portant sur les autoroutes œuvrent à requalifier l’idée même de paysage. Prenant part à un renouvellement esthétique de la photographie, Auerbacher enregistre de manière précise et méthodique l’évolution des paysages autoroutiers. La photographe qui se confronte au réel, aspire à la neutralité et refuse l’expressivité dans son travail photographique, donne à voir la complexité des sites autoroutiers et transforme alors la qualité du regard que chacun porte sur des lieux sans qualité et leurs aménagements. The work of photographer Dominique Auerbacher focuses on motorways and challenges the very idea of landscape. Taking part in an aesthetic renewal of photography, Auerbacher carefully and methodically documents the evolution of motorway landscapes. The photographer, facing reality, aspires to find neutrality and refuses expressiveness in her photographic work, showing the complexity of motorway sites and thus transforming the quality of everyone's gaze on places without quality as well as on their disposition.

L’étude se penche sur les propos oraux ou écrits de photographes itinérants contemporains. Au sein de leurs prises de parole, le recours aux lieux communs s’avère constant. S’ils découlent de la reprise par les photographes d’énoncés antérieurs, ils participent également à la construction d’un ethos et à la revendication de valeurs telles que liberté, frugalité, ouverture à l’autre… This study examines the oral and written accounts of contemporary travelling photographers. The use of common-places proves to be a constant theme in their expression. Though they may result from the photographers' repetition of previous statements, they also participate in the construction of an ethos and the claim of values such as freedom, frugality, openness to the other...

Au début du xxe siècle, les nombreuses innovations techniques transforment le rapport de l’homme à l’espace, à la distance et au temps. L’automobile se démocratise et devient un sujet de prédilection pour les photographes modernistes. En 1931, les éditions Jacques Haumont publient La Route Paris-Biarritz, vue et photographiée par Germaine Krull, avec une préface de Claude Farrère. Ce récit présente la diversité du territoire parcouru. Mais il est aussi révélateur de la manière dont la technique – photographique et de déplacement – conditionne le voyage et son compte rendu. At the beginning of the 20th century, many technological innovations transformed man’s relationship to space, distance and time. The automobile is becoming more accessible. It became a predilection subject for modernist photographers. In 1931, the éditions Jacques Haumont published La Route Paris-Biarritz, seen and photographed by Germain Krull, with a preface by Claude Farrère. This book presents the diversity of the area travelled. But it is also a revealing example of how the technique – photographic and traveling – determines the journey and its narrative.

Dans cet article, accompagné de photographies, Roland Colin donne à voir le travail photographique de son épouse Renée Colin-Noguès ainsi que leur vie commune au « Soudan français », en pays Sénoufo (aujourd’hui le Burkina Faso et le Mali), entre avril 1952 et juin 1954. Revenant sur les prémices d’une vocation, un premier apprentissage à Koulouba, le monde sénoufo puis les enseignements des voyages, le propos met en évidence la pratique photographique comme outil précieux et fécond, permettant la révélation de l’Autre. In his article complete with photographs, Roland Colin gives visibility to the photographic work of his wife Renée Colin-Noguès, as well as their life together in “French Sudan” and the Senufo communities of Western Africa (today’s Burkina Faso and Mali), between April 1952 and June 1954. Tracing the early stages of a vocation, the first learning experience in Koulouba, the Senufo world and then travel teachings, this article highlights the practice of photography as a precious and fruitful tool in revealing the Other.

Gilles Saussier s’est écarté du photoreportage pour élaborer de nouvelles stratégies documentaires qui trouvent leur place au sein du livre ou des espaces d’exposition. Parmi ses œuvres, Le Tableau de chasse (2010) et Spolia (2018) se présentent comme des Voyages en Roumanie. Le premier privilégie la déconstruction des pratiques du photoreportage, quand le second se présente comme une patiente enquête menée sur les traces de La Colonne sans fin de Constantin Brancusi. Gilles Saussier has moved away from photojournalism to develop new documentary strategies which find their place in books or exhibition spaces. Among his works, Le Tableau de chasse (2010) and Spolia (2018) are presented as travel books to Romania. The first favors the deconstruction of photojournalism practices, when the second presents itself as a patient investigation carried out in the footsteps of La Colonne sans fin by Constantin Brancusi.

Purpose - Inspired by a recent museum visit, the present work wished to study the effect of the use of photos in cultural technologies. Design/methodology/approach - We used ancient museum objects with contemporary photos, showing people performing similar activities in antiquity and today. Qualitative data from interviews were collected and analyzed to study the participant's reflections when they saw the images of ancient objects and contemporary photos. Findings - Results revealed the importance of contemporary photos and the possibility of including them in cultural heritage technologies since they assist visitors in understanding and reflection processes. Originality/value - Photos can function as interpretation aids and also allow participants to make multiple connections between past and present, across societies and cultures, between current and prior knowledge, and permit connections to personal experience, leading to the conclusion that critical constructivist approaches take place when people are presented with the two images and meaning-making processes., Journal of Integrated Information Management, Vol 8, No 1 (2023)

This paper examines the imperialist and orientalist aesthetic of Ernst Krickl’s archaeological photography as displayed in his 1892 Lycian Journal. Employing the methodology of Michael Shanks and Stephanie Moser, I undertake a post-colonial visual analysis of the journal to contextualise it within its complex history. By looking at the aesthetic of the photographs as a window into contemporary ideologies, I find that the construction of an imperial Austrian image and an orientalist view of the Ottoman Empire underlines Krickl’s work. In my study, the aesthetic of the photographs is found to reflect the wider international, cultural and political dynamics of 19th century Austria. Finally, the Lycian journal is employed as a case study to discuss the relationship of archaeological practice with dominant ideologies.

PhotosNormandie est un projet collaboratif portant sur plus de 5 100 photos et 300 films historiques sur le débarquement du 6 juin 1944 et la bataille de Normandie. Il a pour objectif d’améliorer les légendes des photos et des films en utilisant les fonctionnalités des plates-formes Flickr et YouTube. Actif depuis janvier 2007, le projet s’est constitué autour de passionnés aux compétences complémentaires où l’on compte des archivistes, documentalistes, historiens, enseignants, etc. L’activité régulière du projet durant plus de seize années a permis d’accroître considérablement la qualité des descriptions et de les enrichir d’informations inédites. L’ensemble des légendes produites forme probablement la meilleure description documentaire actuelle de cette collection de photos et de films. L’article décrit les méthodes utilisées au cours de cette activité et explique pourquoi le processus peut être qualifié de redocumentarisation de sources patrimoniales. PhotosNormandie is a collaborative project involving more than 5100 photos and 300 historical movies on the landing of June 6, 1944 and the Battle of Normandy. It aims to improve the captions of photos and movies using the functionalities of the Flickr and YouTube platforms. The project has been active since January 2007 and is made up of enthusiasts with complementary skills, including archivists, documentalists, historians, teachers, etc. The regular activity of the project over sixteen years has made it possible to considerably increase the quality of the descriptions and to enrich them with new information. The set of captions produced is probably the best current documentary description of this collection of photos and movies. The article describes the methods used during this activity and explains why the process can be described as re-documentarision of heritage sources. PhotosNormandie é um projecto colaborativo que envolve mais de 5.100 fotografias e 300 filmes históricos sobre o desembarque de 6 de Junho de 1944 e a Batalha da Normandia. O seu objectivo é melhorar as legendas das fotografias e dos filmes, utilizando as funcionalidades das plataformas Flickr e YouTube. Em actividade desde Janeiro de 2007, o projecto foi construído em torno de um grupo de entusiastas com competências complementares, incluindo arquivistas, documentalistas, historiadores e professores. A actividade regular do projecto por mais de dezasseis anos permitiu de melhorar consideravelmente a qualidade das descrições e enriquecê-las com informações inéditas. No seu conjunto, as legendas produzidas constituem provavelmente a melhor descrição documental atual desta colecção de fotografias e filmes. O artigo descreve os métodos utilizados durante esta actividade e explica porque é que o processo pode ser descrito como redocumentação de fontes patrimoniais.

Diplomsko delo vključuje spoznavanje visoko hitrostne fotografije, kaj to je in kaj želimo z njo doseči. Podrobneje je predstavljena vsa potrebna oprema, ki nam bo omogočila oziroma vsaj olajšala nastanek visoko hitrostnih fotografij. Delo zajema tri različne motive visoko hitrostnih fotografij: pljusk rezine sadeža, eksplozijo vodnega balona in odsev v kapljici vode. Pri vsakem motivu je opisan proces, kako ga fotografirati torej, katero opremo in katere nastavitve opreme potrebujemo, kako in kam postaviti studio (če nimamo možnosti fotografiranja v svetlobno kontroliranem prostoru) ter na kaj moramo biti pozorni med samim fotografiranjem. Torej da si že vnaprej predstavljamo, kako naj bi končni izdelek izgledal, ali je zanj potrebno združiti več fotografij v eno ter v kakšnem vrstnem redu zajeti fotografije, v kolikor jih potrebujemo več (če fotografiramo pljusk vode v kozarcu, si na končni fotografiji želimo čist kozarec, zato, še preden začnemo s pljuski, najprej fotografiramo čist kozarec s čisto podlago). Predstavljene so tudi nekatere pogoste težave pri nastajanju visoko hitrostnih fotografij, kot je iskanje pozicije bliskavice, da bo ta lepo osvetlila fotografiran objekt in ozadje, iskanje pravega trenutka za proženje fotoaparata in prilagajanje zamiku proženja ter iskanja novih rešitev po spodletelem poskusu. Za konec je pri vsakem motivu podrobneje obrazloženo, kako s pomočjo naprednih programskih orodij za obdelavo fotografij le-te tudi obdelati (združevanje več fotografij v eno, barvna korekcija). The thesis includes learning about "high-speed" photography, what it is, and what we want to achieve with it. We look closer at all the necessary equipment, which will enable or at least ease the process of creating "high-speed" photos. The thesis includes three different motifs of "high-speed" photographs: a splash of a slice of fruit, an explosion of a water balloon, and a reflection in a water droplet. For each motif, the process of how to make a photograph is described that is, which equipment and which equipment settings we need, how and where to set up the studio (if we do not have the option of taking photos in a light-controlled room), and what we must pay attention to during the photography itself. We must imagine in advance how the final product should look like, whether it is necessary to combine several photos into one, and in what order to capture the photos if we need to capture more (if we take a photo of a splash of water in a glass, we want a clean glass in the final photo, so before we start splashing, we first take a photo of a clean glass with a clean surface). We will also learn about some common problems when creating "high-speed" photos, such as finding the good position of the speedlight so that it will illuminate the photographed object and the background, finding the right moment to trigger the camera and adjusting the trigger delay, and finding new solutions after a failed attempt. Finally, for each motif, it is explained in more detail how to process the images with the help of advanced software tools for processing photos (combining several photos into one, color correction).

Tal y como apunta Vinciane Despret, los nuevos medios han permitido que los animales se hayan convertido en estrellas mediáticas, son los nuevos protagonistas de fotos y vídeos en las redes sociales. En paralelo, Beatriz Colomina expone que estos medios también han conseguido que los estudios de arquitectura se preocupen en mostrar fotografías de sus proyectos para obtener un like, una interacción. Ante esta doble situación, el artículo analiza cómo los animales no humanos han tomado presencia en la fotografía de arquitectura que se encuentra en los nuevos medios. Para ello, hace uso de un acopio de fotografías mostradas en Instagram en tres plataformas y de un estado del arte de los animal studies, aterrizado en el campo de la arquitectura. Estos dos frentes permiten definir los roles o sentidos que toman los animales y la obra arquitectónica ante esta situación, un marco crítico para la lectura del presente., As Vinciane Despret puts it, new media have allowed animals to become media stars, they are the new protagonists of photos and videos on social networks. In parallel, Beatriz Colomina explains that these media have also managed to get architecture studios to worry about showing photographs of their projects to get a like, an interaction. Faced with this double situation, the article analyzes how non-human animals have gained a presence in architectural photography found in the new media. To do this, the article makes use of a collection of photographs shown on Instagram on three platforms and a state of the art of animal studies, landed in the field of architecture. These two fronts make it possible to define the roles or meanings taken by the animals and the architectural work in this situation, a critical framework for a reading of the present., UAH

Les nombreux exemples connus de photomontage au XIXe siècle témoignent de l’intérêt porté par les photographes professionnels et les amateurs pour cette technique. La pratique du photomontage au service de la conception et de la représentation des édifices semble en revanche moins répandue. Toutefois d’intéressantes expérimentations sur l’image sont menées à ce moment par certains architectes. L’étude des images destinées à la diffusion des projets de Louis-Auguste Boileau permet d’éclairer les nouvelles modalités de fabrication des images tant du point de vue de la perception de la réalité que de la rationalisation des processus. The many known examples of photomontage in the nineteenth century attest to both professional and amateur photographers’ interest in this technique. Although the practice of photomontage for the design and representation of buildings seems to have been less widespread, some interesting experiments with images were being carried out by certain architects at the time. Studying the images produced for the diffusion of Louis-Auguste Boileau's designs sheds light on new methods of image production, both from the point of view of reality perception and process rationalization.

L’article vise à mettre en lumière les particularités du photomontage employé comme représentation du projet d’architecture et recourant à la photographie comme image de support. Il développe une analyse d’image d’un photomontage réalisé par les architectes Lacaton & Vassal dans le cadre du concours pour la construction du Frac Grand-Large, à Dunkerque, en 2009. À travers cette analyse sont notamment abordées les questions de l’apport de l’indicialité des photographies employées comme support des photomontages et la façon dont les registres d’image déployés par un photomontage peuvent se présenter comme des incarnations d’un projet d’architecture. Les images deviennent alors à la fois des représentations et des métaphores du projet, à même de servir le propos des architectes. The article aims to highlight the particularities of photomontage as a representation of the architectural project, using photography as a supporting image. It develops an image analysis of a photomontage produced by the architects Lacaton & Vassal in the context of the competition for the construction of the FRAC Grand-Large, in Dunkirk, France, 2009. Through this examination, the following issues are addressed: the indiciality of the photographs used as a support for the photomontages, the way in which the image registers deployed by a photomontage can be presented as embodiments of an architectural project. Thus, the images become both representations and metaphors of the project, capable of serving the architects’ purpose.