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 However, these sources are, for the most part, outdated, incomplete, incompatible, or/and inaccurate.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.

Evaluating High-Resolution Aerial Photography Acquired by Unmanned Aerial Systems for Use in Mapping Everglades Wetland Plant Associations

Mapping of vegetation patterns over large extents using remote sensing methods requires field sample collections for two different purposes: (1) the establishment of plant association classification systems from samples of relative abundance estimates; and (2) training for supervised image classification and accuracy assessment of satellite data derived maps. One challenge for both procedures is the establishment of confidence in results and the analysis across multiple spatial scales. Continuous data sets that enable cross-scale studies are very time consuming and expensive to acquire and such extensive field sampling can be invasive. The use of high resolution aerial photography (hrAP) offers an alternative to extensive, invasive, field sampling and can provide large volume, spatially continuous, reference information that can meet the challenges of confidence building and multi-scale analysis.

The influence of simulated disability slides and audiotape messages on college students' attribution of personality characteristics

The purpose of this study was to examine the attitudes college students have toward those with physical disabilities and what personality characteristics they attribute to physical appearance. One-hundred-one introductory psychology students at FIU were randomly assigned to one of three groups: control--no disability group, a group that viewed five slides of peers with disabilities, and a group that viewed the disability slides and heard their voices. All subjects rated the individuals' perceived personality. A one-way ANOVA revealed that those in the visual and audio disability group rated those with disabilities significantly higher in friendliness, attractiveness, and assertiveness than those who rated the individuals without disabilities. Those in the visual and audio disability group rated them higher in self-esteem than those in the visual only disability group. Since voice can have such positive effects on first impression, an occupational therapist can work on improving communication skills of those with disabilities.

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).

Phyllis Birkby and Gloria Orenstein showing slides at the Woman's Salon

Inscription: Verso: Cerridwen Salon, New York

Photography student working in darkroom

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Photography student working in darkroom

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Oliva collecting periphytometer slides at TS/Ph-2, Taylor Slough

This material is based upon work supported by the National Science Foundation through the Florida Coastal Everglades Long-Term Ecological Research program under Cooperative Agreements #DBI-0620409 and #DEB-9910514. This image is made available for non-commercial or educational use only.

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.

Spanish Photography Yearbooks between the Autarchy and the Transition A Documentary Analysis (1958-1980)

The first yearbook on Spanish artistic photography was published in 1924 and following the Civil War of 1936-1939, Madrid’s Real Sociedad Fotográfica, through its Sombras magazine, published two others in 1946 and 1948. There would not be another publication until 1958, when the Agrupación Fotográfica Almeriense put out the third yearbook, during a period of economic recovery following the country’s admission to the U.N. at the end of 1955. However, it was not until 1972 when Spanish photography resumed the publication of annual summaries of the authors and their works. From then on until 1980, nine yearbooks were published by two institutions: The Consorcio del Libro Técnico (Cotec) and the Editorial Everest publishing company. The object of this study is to analyze the contents of these yearbooks in order to determine and furnish new data on the history of Spanish photography: authors, works, publications, national and international relations and the purpose of their publications as a means for supporting photography.