An evaluation of aerial photography as a source of environmental information

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The application of aerial photography to surveys of potential disposal sites

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Comparison of subjective and objective methods to determine the retinal arterio-venous ratio using fundus photography

Purpose: To assess the inter and intra observer variability of subjective grading of the retinal arterio-venous ratio (AVR) using a visual grading and to compare the subjectively derived grades to an objective method using a semi-automated computer program. Methods: Following intraocular pressure and blood pressure measurements all subjects underwent dilated fundus photography. 86 monochromatic retinal images with the optic nerve head centred (52 healthy volunteers) were obtained using a Zeiss FF450+ fundus camera. Arterio-venous ratios (AVR), central retinal artery equivalent (CRAE) and central retinal vein equivalent (CRVE) were calculated on three separate occasions by one single observer semi-automatically using the software VesselMap (ImedosSystems, Jena, Germany). Following the automated grading, three examiners graded the AVR visually on three separate occasions in order to assess their agreement. Results: Reproducibility of the semi-automatic parameters was excellent (ICCs: 0.97 (CRAE); 0.985 (CRVE) and 0.952 (AVR)). However, visual grading of AVR showed inter grader differences as well as discrepancies between subjectively derived and objectively calculated AVR (all p < 0.000001). Conclusion: Grader education and experience leads to inter-grader differences but more importantly, subjective grading is not capable to pick up subtle differences across healthy individuals and does not represent true AVR when compared with an objective assessment method. Technology advancements mean we no longer rely on opthalmoscopic evaluation but can capture and store fundus images with retinal cameras, enabling us to measure vessel calibre more accurately compared to visual estimation; hence it should be integrated in optometric practise for improved accuracy and reliability of clinical assessments of retinal vessel calibres. © 2014 Spanish General Council of Optometry.

The 2008 Terrestrial Vegetation of Biscayne National Parko FL, USA Derived From Aerial Photography, NDVI, and LiDAR

Established as a National Park in 1980, Biscayne National Park (BISC) comprises an area of nearly 700 km2 , of which most is under water. The terrestrial portions of BISC include a coastal strip on the south Florida mainland and a set of Key Largo limestone barrier islands which parallel the mainland several kilometers offshore and define the eastern rim of Biscayne Bay. The upland vegetation component of BISC is embedded within an extensive coastal wetland network, including an archipelago of 42 mangrove-dominated islands with extensive areas of tropical hardwood forests or hammocks. Several databases and vegetation maps describe these terrestrial communities. However, these sources are, for the most part, outdated, incomplete, incompatible, or/and inaccurate. For example, the current, Welch et al. (1999), vegetation map of BISC is nearly 10 years old and represents the conditions of Biscayne National Park shortly after Hurricane Andrew (August 24, 1992). As a result, a new terrestrial vegetation map was commissioned by The National Park Service Inventory and Monitoring Program South Florida / Caribbean Network.

Documentation of glaciers and mountain chains in the Nordvestfjord of Scorsby Sound (East Greenland, July 2016) by landscape photography during Maria S. Merian cruise MSM56

From the 12th until the 17th of July 2016, research vessel Maria S. Merian entered the Nordvestfjord of Scorsby Sound (East Greenland) as part of research cruise MSM56, "Ecological chemistry in Arctic fjords". A large variety of chemical and biological parameters of fjord and meltwater were measured during this cruise to characterize biogeochemical fluxes in arctic fjords. The photo documentation described here was a side project. It was started when we were close to the Daugaard-Jensen glacier at the end of the Nordvestfjord and realized that not many people have seen this area before and photos available for scientists are probably rare. These pictures shall help to document climate and landscape changes in a remote area of East Greenland. Pictures were taken with a Panasonic Lumix G6 equipped with either a 14-42 or 45-150 objective (zoom factor available in jpg metadata). Polarizer filters were used on both objectives. The time between taking the pictures and writing down the coordinates was maximally one minute but usually shorter. The uncertainty in position is therefore small as we were steaming slowly most of the time the pictures were taken (i.e. below 5 knots). I assume the uncertainty is in most cases below 200 m radius of the noted position. I did not check the direction I directed the camera to with a compass at the beginning. Hence, the direction that was noted is an approximation based on the navigation map and the positioning of the ship. The uncertainty was probably around +/- 40° but initially (pictures 1-17) perhaps even higher as this documentation was a spontaneous idea and it took some time to get the orientation right. It should be easy, however, to find the location of the mountains and glaciers when being on the respective positions because the mountains have a quite characteristic shape. In a later stage of this documentation, I took pictures from the bridge and used the gyros to approximate the direction the camera was pointed at. Here the uncertainty was much lower (i.e. +/- 20° or better). Directions approximated with the help of gyros have degree values in the overview table. The ship data provided in the MSM56 cruise report will contain all kinds of sensor data from Maria S. Merian sensor setup. This data can also be used to further constrain the position the pictures were taken because the exact time a photo was shot is noted in the metadata of the .jpg photo file. The shipboard clock was set on UTC. It was 57 minutes and 45 seconds behind the time in the camera. For example 12:57:45 on the camera was 12:00:00 UTC on the ship. All pictures provided here can be used for scientific purposes. In case of usage in presentations etc. please acknowledge RV Maria S. Merian (MSM56) and Lennart T. Bach as author. Please inform me and ask for reprint permission in case you want to use the pictures for scientific publications. I would like to thank all participants and the crew of Maria S. Merian Cruise 56 (MSM56, Ecological chemistry in Arctic fjords).

Renouncing the Single Image: Photography and the Realism of Abstraction

This essay addresses the issue of the relationship between abstraction and realism that it argues is at stake in the rejection of any primacy accorded to the single image, in favour of a sequencing of photographs according to certain, often novelistic and epic ideas of narrative form. Setting out from the opening text of Allan Sekula’s Fish Story, the article explores the competing tendencies towards what Georg Lukács termed ‘narration’ and ‘description’ as these are traced throughout Sekula's project (in part through a comparison with the contrasting works of Andreas Gursky). The essay concludes by suggesting the ways in which it is the irreducible actuality of abstraction within the concrete everydayness of capitalism's social world that means that all photographic ‘realism’ is intrinsically ‘haunted’ by a certain spectre of that ‘self-moving substance in the ‘shape of money’, as Marx calls it, or of the abstract form of capital itself.

‘Don’t look down!’: A short history of rooftopping photography

The article examines the practice known as ‘rooftopping photography’ and its significance for the representation of vertical cities. It begins by charting the historical development of architecture as a viewing platform in the age of the camera, and dwells on the imagery of cityscapes from above that emerged in the inter-war period. Against this background, the essay investigates how rooftopping arose out of the urban exploration movement and became a global trend in the early 2010s. This phenomenon is situated within its wider social and cultural context, and is discussed with reference to the online media discourse that contributed to its public visibility. A set of ideas from the philosophy of photography and visual culture inform the critical analysis of rooftopping photographs: this broad and diverse body of images is examined with a focus on two predominant modes of representation—panoramic and plunging views. The affective responses elicited by so-called ‘vertigo-inducing’ images are discussed through the concept of vicarious kinaesthesia, which offers insights into the nexus between visceral experience and visual representation that lies at the core of rooftopping. By unpacking this interplay, the essay explores a phenomenon that has hitherto been given little scholarly attention and reflects on its broader implications for the relationship between photography and architecture today.

Representing the Unrepresentable: The Photographs of Lee Miller at Buchenwald and Dachau

This article proposes a reflection on what the historian Saul Friedlander called “the limits of representation” of the massacres and genocides, in order to provide evidence to help settle the old debate about the Holocaust unrepresentability. To achieve this, we will carry out a textual analysis of five of the most painful images that the American photographer Lee Miller realized in the Nazi concentration camps of Buchenwald and Dachau, in April 1945. The war correspondent, who had been Man Ray’s assistant photographer, muse and lover, witnessed the horror, and if she knew how to represent it, that was, in a great extent, thanks to its surreal look.

Photography, desire and resistance in the lives of women, following the 1979 revolution in Iran

In my last four years of PhD by practice at the Royal College of Art, I have conducted extensive research on archival photography including materials held at the Museum der Weltkulturen, Frankfurt am Main; the Institute for Iranian Contemporary Historical Studies (IICHS) , Tehran; and the International Institute of Social History (IISH), Amsterdam. My project started with the fortuitous encounter with a photograph taken by Iranian photographer Hengameh Golestan on the morning of March 8, 1979. The photograph shows women marching in the streets of Teheran in protest against the introduction of the compulsory Islamic dress code. In 1936 Reza Shah had decreed a ban on the headscarf as part oh his westernising project. Over forty years later following the 1979 Revolution, Ruhollah Khomeini reversed this decision by ordering that women should now cover their hair. This ‘found image’ presented me with a glimpse into the occulted history of my own country and the opportunity to advance towards a deeper learning and understanding of the event of March 8, 1979 a significant date in the history of feminism in Iran. In what follows I revisit the history of Iran since the 1979 revolution with a particular inflexion on the role women played in that history. However, as my project develops , I gradually move away from the socio-historical facts to investigate the legacy of the revolution on the representations of women in photography, film and literature as well as the creation of an imaginary space of self representation. To this end my writing moves constantly between the documentary, the analytical and the personal. In parallel I have made photographs and video works which are explorations of the veil as object of fascination and desire as well as symbol of repression.

Development of an historical landscape photography database to support landscape change analysis in the Northeast of Portugal

Repeat photography is an efficient, effective and useful method to identify trends of changes in the landscapes. It was used to illustrate long-term changes occurring in the landscapes. In the Northeast of Portugal, landscapes changes is currently driven mostly by agriculture abandonment and agriculture and energy policy. However, there is a need to monitoring changes in the region using a multitemporal and multiscale approach. This project aimed to establish an online repository of oblique digital photography from the region to be used to register the condition of the landscape as recorded in historical and contemporary photography over time as well as to support qualitative and quantitative assessment of change in the landscape using repeat photography techniques and methods. It involved the development of a relational database and a series of web-based services using PHP: Hypertext Preprocessor language, and the development of an interface, with Joomla, of pictures uploading and downloading by users. The repository will make possible to upload, store, search by location, theme, or date, display, and download pictures for Northeastern Portugal. The website service is devoted to help researchers to obtain quickly the photographs needed to apply RP through a developed search engine. It can be accessed at: http://esa.ipb.pt/digitalandscape/.

A new genus and two new species of Stevardiinae (Characiformes: Characidae) with a hypothesis on their relationships based on morphological and histological data

Lepidocharax, new genus, and Lepidocharax diamantina and L. burnsi new species from eastern Brazil are described herein. Lepidocharax is considered a monophyletic genus of the Stevardiinae and can be distinguished from the other members of this subfamily except Planaltina, Pseudocorynopoma, and Xenurobrycon by having the dorsal-fin origin vertically aligned with the anal-fin origin, vs. dorsal fin origin anterior or posterior to anal-fin origin. Additionally the new genus can be distinguished from those three genera by not having the scales extending over the ventral caudal-fin lobe modified to form the dorsal border of the pheromone pouch organ or to represent a pouch scale in sexually mature males. In this paper, we describe these two recently discovered species and the ultrastructure of their spermatozoa.

Phototherapy Improves Healing of Chronic Venous Ulcers

Objective: We tested the hypothesis that LED phototherapy with combined 660-nm and 890-nm light will promote healing of venous ulcers that failed to respond to other forms of treatment. Background Data: A variety of dressings, growth factors, and adjunct therapies are used to treat venous ulcers, but none seems to yield satisfactory results. Materials and Methods: We used a randomized placebo-controlled double-blind study to compare a total of 20 patients divided with 32 chronic ulcers into three groups. In group 1 the ulcers were cleaned, dressed with 1% silver sulfadiazine (SDZ) cream, and treated with placebo phototherapy (<.03 J/cm(-3)) using a Dynatron Solaris 705 phototherapy research device. In group 2 the ulcers were treated similarly but received real phototherapy (3 J/cm(-2)) instead of placebo. In group 3 (controls), the ulcers were simply cleaned and dressed with SDZ without phototherapy. The ulcers were evaluated with digital photography and computer image analysis over 90 d or until full healing was attained. Results: Ulcers treated with phototherapy healed significantly faster than controls when compared at day 30 (p < 0.01), day 60 (p < 0.05), and day 90 (p < 0.001), and similarly healed faster than the placebo-treated ulcers at days 30 and 90 (p < 0.01), but not at day 60. The beneficial effect of phototherapy was more pronounced when the confounding effect of small-sized ulcers was removed from the analysis. Medium- and large-sized ulcers healed significantly faster with treatment (>= 40% rate of healing per month) than placebo or control ulcers (p < 0.05). Conclusion: Phototherapy promotes healing of chronic venous ulcers, particularly large recalcitrant ulcers that do not respond to conventional treatment.