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"Composition (Photography)"
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Inspiration in photography : train your mind to make great art a habit / Brooke Shaden
\"Inspiration is not a far-flung concept, out of reach to all but a few great artists, nor is it a matter of chance. As a photographer it's possible to train your mind to see the creative possibilities in any situation. Featuring the pioneering work of author Brooke Shaden and a selection of carefully chosen contributing photographers, this book provides the perfect balance of insight and instruction to help you find inspiration whenever you need it and capitalize on it every time.\"'--Front flap.
Book
Building CNN-Based Models for Image Aesthetic Score Prediction Using an Ensemble
In this paper, we propose a framework that constructs two types of image aesthetic assessment (IAA) models with different CNN architectures and improves the performance of image aesthetic score (AS) prediction by the ensemble. Moreover, the attention regions of the models to the images are extracted to analyze the consistency with the subjects in the images. The experimental results verify that the proposed method is effective for improving the AS prediction. The average F1 of the ensemble improves 5.4% over the model of type A, and 33.1% over the model of type B. Moreover, it is found that the AS classification models trained on the XiheAA dataset seem to learn the latent photography principles, although it cannot be said that they learn the aesthetic sense.
Journal Article
Of Shadow and Substance: Composing the Shakespeare Photograph
Even as he offers the comedy of the three caskets (along with the prejudice that informs the presentation of the failed suitors), Shakespeare stages a philosophical thought experiment on the nature of shadow and substance that anticipates, I suggest, the epistemological conundrum on offer in the scientific-technological practices of photography. [...]it regularly happens that when a new technology emerges from the crucible of science (broadly conceived), we return to the figure of Shakespeare: the \"archaeological\" theatrical stagings by Charles Kean in the nineteenth century; or the invention of motion pictures and the production of silent films of Shakespeare plays; or adaptations of wartime aerial photography and the invention of the Hinman collator; or the use of X-ray imaging and the advanced chemical analysis of paint in the study of Shakespeare portraits; and now the deployment of machine learning to help determine questions of shared authorship. The photograph is, then, caused by the real world, even as a footprint (Sontag's analog) is caused by an actual foot pressing into the receiving earth: \"[T]he force of photographic images comes from their being material realities in their own right, richly informative deposits left in the wake of whatever emitted them, potent means for turning the tables on reality-for turning it into a shadow (Sontag, 179-80).2 Sontag is hardly alone in this \"photographic\" turn to Shakespeare. [...]rather than focusing on prison or asylum populations (Galton coined the term \"eugenics\"), Furness made a set of composite photographs by superimposing various Shakespeare portraits in various combinations in successive layers-the Chandos, Droeshout, Jansen, Felton portraits, together with the Stratford bust, for example-in the hopes of creating an authentic likeness of Shakespeare as he was in life.
Journal Article
