Explore the vast range of titles available.

A portable, user-friendly multispectral imaging system assembled almost entirely of common photography equipment and open-source software has been developed. The system serves as an outreach and educational tool for demonstrating and promoting scientific imaging as a more routine practice in the contexts of cultural heritage digitization and photography. These efforts are aimed primarily at institutions where advanced imaging technologies are not already found, and where funding and expertise may limit access to commercial, bespoke multispectral imaging solutions that are currently available. The background and theory that were shared in tutorials given during the system’s initial testing campaign are detailed here. Testing was carried out in one-day on-site visits to six cooperating institutions of different sizes and collection types in the northeast USA. During these visits, the imaging system was presented, and the benefit of collecting spectral data using low barrier-to-entry capture and processing methods relative to conventional imaging methods was discussed. Imaging was conducted on site on selected collections objects to showcase the current capabilities of the system and to inform ongoing improvements to the setup and processing. This paper is a written companion piece to the visits, as a source of further detail and context for the two-light imaging system that was described and demonstrated.

Physicist Gabriel Lippmann's (1845–1921) photographic process is one of the oldest methods for producing colour photographs. So why do the achievements of this 1908 Nobel laureate remain mostly unknown outside niche circles? Using the centenary of Lippmann’s death as an opportunity to reflect upon his scientific, photographic, and cultural legacy, this book is the first to explore his interferential colour photography. Initially disclosed in 1891, the emergence of this medium is considered here through three shaping forces: science, media, and museums. A group of international scholars reassess Lippmann’s reception in the history of science, where he is most recognised, by going well beyond his endeavours in France and delving into the complexity of his colour photography as a challenge to various historiographies. Moreover, they analyse colour photographs as optical media, thus pluralising Lippmann photography's ties to art, cultural and imperial history, as well as media archaeology. The contributors also focus on the interferential plate as a material object in need of both preservation and exhibition, one that continues to fascinate contemporary analogue photographers. This volume allows readers to get to know Lippmann, grasp the interdisciplinary complexity of his colourful work, and ultimately expand his place in the history of photography.

Physicist Gabriel Lippmann's (1845–1921) photographic process is one of the oldest methods for producing colour photographs. So why do the achievements of this 1908 Nobel laureate remain mostly unknown outside niche circles? Using the centenary of Lippmann's death as an opportunity to reflect upon his scientific, photographic, and cultural legacy, this book is the first to explore his interferential colour photography. Initially disclosed in 1891, the emergence of this medium is considered here through three shaping forces: science, media, and museums. A group of international scholars reassess Lippmann's reception in the history of science, where he is most recognised, by going well beyond his endeavours in France and delving into the complexity of his colour photography as a challenge to various historiographies. Moreover, they analyse colour photographs as optical media, thus pluralising Lippmann photography's ties to art, cultural and imperial history, as well as media archaeology. The contributors also focus on the interferential plate as a material object in need of both preservation and exhibition, one that continues to fascinate contemporary analogue photographers. This volume allows readers to get to know Lippmann, grasp the interdisciplinary complexity of his colourful work, and ultimately expand his place in the history of photography.

The art scene is Los Angeles, LA, is made up of various museums as well as commercial and non-profit galleries located within a 50-mile radius. Some of the city's most exciting art venues are small artist-run spaces but viewers will not hesitate to drive for an hour just to visit a gallery they have never heard of. Photography as an art is more accepted in the city and photo galleries will continue to serve its narrow market. However, photography remain as an outsider from the mainstream contemporary art world.

Capa, the founder of the International Center of Photography, announced he would retire as director in June 1994. The museum displays the work of photojournalists and receives more than 250,000 visitors each year. Capa does not plan to use a camera during his retirement.

His work spanned just a decade, he died at the age of 30, but with his striking 1960s images of Britons at play, Tony Ray-Jones helped change the face of British photography forever. Profile of his life and career, as a book of his work is published, and an exhibition opens at Bradford's National Museum of Photography, Film and Television opens. (Original abstract - amended)

Two studies examined whether photographing objects impacts what is remembered about them. Participants were led on a guided tour of an art museum and were directed to observe some objects and to photograph others. Results showed a photo-taking-impairment effect: If participants took a photo of each object as a whole, they remembered fewer objects and remembered fewer details about the objects and the objects' locations in the museum than if they instead only observed the objects and did not photograph them. However, when participants zoomed in to photograph a specific part of the object, their subsequent recognition and detail memory was not impaired, and, in fact, memory for features that were not zoomed in on was just as strong as memory for features that were zoomed in on. This finding highlights key differences between people's memory and the camera's \"memory\" and suggests that the additional attentional and cognitive processes engaged by this focused activity can eliminate the photo-taking-impairment effect.

Photography and fascism in interwar Europe developed into a highly toxic and combustible formula. Particularly in concert with aggressive display techniques, the European fascists were utterly convinced of their ability to use the medium of photography to manufacture consent among their publics. Unfortunately, as we know in hindsight, they succeeded. Other dictatorial regimes in the 1930s harnessed this powerful combination of photography and exhibitions for their own odious purposes. But this book, for the first time, focuses on the particularly consequential dialectic between Germany and Italy in the early-to-mid 1930s, and within each of those countries vis-à-vis display culture. The 1930s provides a potent case study for every generation, and it is as urgent as ever in our global political environment to deeply understand the central role of visual imagery in what transpired. Photofascism demonstrates precisely how dictatorial regimes use photographic mass media, methodically and in combination with display, to persuade the public with often times highly destructive-even catastrophic-results.

Ethnographic museums, now often rebranded as collections of 'world cultures', appear permanently problematic, even as their contexts and the orientation of their activities change. Across Europe and elsewhere, curators and other museum staff are committed to dialogue and collaboration with the peoples from whom collections were made. But their vast assemblages of artefacts, removed from countries of origin primarily during the colonial period, and assumed, mostly inaccurately, to have been looted, seem always in question. Photo-Museology arises from an art project undertaken over 25 years. From the early 1990s, Mark Adams and Nicholas Thomas together investigated sites of cross-cultural encounter in the Pacific and associated places in Europe, ranging from Captain Cook memorials to ethnographic museums. Some of those museums still exhibited colonial symbols and forms of knowledge, others had attempted to displace such histories, foregrounding more inclusive or progressive stories. Complementing the academic studies in the Pacific Presences series, this book offers what John Berger referred to as 'another way of telling'. Through photography, it revisits the places collections were made, and the places they ended up in. It is a meditation on presence and absence.

Global climate change and other anthropogenic stressors have heightened the need to rapidly characterize ecological changes in marine benthic communities across large scales. Digital photography enables rapid collection of survey images to meet this need, but the subsequent image annotation is typically a time consuming, manual task. We investigated the feasibility of using automated point-annotation to expedite cover estimation of the 17 dominant benthic categories from survey-images captured at four Pacific coral reefs. Inter- and intra- annotator variability among six human experts was quantified and compared to semi- and fully- automated annotation methods, which are made available at coralnet.ucsd.edu. Our results indicate high expert agreement for identification of coral genera, but lower agreement for algal functional groups, in particular between turf algae and crustose coralline algae. This indicates the need for unequivocal definitions of algal groups, careful training of multiple annotators, and enhanced imaging technology. Semi-automated annotation, where 50% of the annotation decisions were performed automatically, yielded cover estimate errors comparable to those of the human experts. Furthermore, fully-automated annotation yielded rapid, unbiased cover estimates but with increased variance. These results show that automated annotation can increase spatial coverage and decrease time and financial outlay for image-based reef surveys.