Aesthetical and narrative uses of the trench in the Hollywood cinema of 1918-1930

Throughout history of painting, the representation of landscape has been considered a laboratory for the human gaze on the world. The First World War and its new approach to the battlefield altered deeply the classical forms of representation, and replaced them with a mechanised and fragmentary vision, which was related with the development of photography and cinema. As Vicente J. Benet has analysed, Hollywod cinema used these deep changes in its filmic versions of the conflict, although it organised them following a narrative logic. In this text we intend to study how the battlefield and, particularly, the trench, are inserted in this logic of the history of landscape painting. We do so through some Hollywood films from the period 1918-1930. Firstly, we approach the trench as a composition value which can structure the image and guide the camera movement. In the second place, we study how it creates a dialog between its inside, melodrama scenery, and the outside, battlefield and danger. In both cases, we conclude that the trench as a form and as a narrative element plays a structuring and integrative role with the storytelling logic.

An improved estimate of leaf area index based on the histogram analysis of hemispherical photographs

Leaf area index (LAI) is a key parameter that affects the surface fluxes of energy, mass, and momentum over vegetated lands, but observational measurements are scarce, especially in remote areas with complex canopy structure. In this paper we present an indirect method to calculate the LAI based on the analyses of histograms of hemispherical photographs. The optimal threshold value (OTV), the gray-level required to separate the background (sky) and the foreground (leaves), was analytically calculated using the entropy crossover method (Sahoo, P.K., Slaaf, D.W., Albert, T.A., 1997. Threshold selection using a minimal histogram entropy difference. Optical Engineering 36(7) 1976-1981). The OTV was used to calculate the LAI using the well-known gap fraction method. This methodology was tested in two different ecosystems, including Amazon forest and pasturelands in Brazil. In general, the error between observed and calculated LAI was similar to 6%. The methodology presented is suitable for the calculation of LAI since it is responsive to sky conditions, automatic, easy to implement, faster than commercially available software, and requires less data storage. (C) 2008 Elsevier B.V. All rights reserved.

A photographic journey through Vietnam

This degree project consists of “A photographic journey through Vietnam”. One month was spent in Vietnam where the different aspects of the Vietnamese life were documented in images. The journey began in Hanoi and descended down the country to Ho Chi Minh City.The report describes the compositional elements of photography and makes an attempt to describe what a “good” image is. Furthermore it explains what equipment that is necessary for such a journey and how you can interact with the local population.When the journey came to an end, a photographic book consisting of 200 images was created. The report details the used workflow step by step. Finally the author has commented 20 of the selected images regarding their photographic composition.

Fotografers och föräldrars attityder kring skönhetsretuschering i skolfotografier : En semistrukturerad intervjustudie

Through semi-structured interviews with 8 school photographers and 10 parents,this study attempted to clarify what photographers and parents of children(aged 1–5) in preschool think of photography business in the current situationprovides retouching children’s school photographs and what they considers tobe acceptable. The result shows that companies do not offer photo retouchingfrequent, but performs this service at the direct request of the customer. Themajority of parents agreed that dirt and food was accepted to be removed fromthe photograph, and that this does not affect the child's self image. The photographersbelieve that one should be very careful when it comes to children andretouching, and that the debate is important.

Retusch av landskapsfoto i annonser för turistmål : En kvantitativ undersökningkring den accepterade nivån av retusch

Etik kring bilder i annonser har diskuterats mycket, speciellt modell-, ochproduktbilder har kritiserats. Det tycks dock saknas forskning om acceptanskring efterbehandling av landskapsfotografier som ofta används vidmarknadsföring av turistmål. En webbenkätundersökning genomfördes medbildexempel för att undersöka vilken nivå av efterbehandling som ansågsverklighetstrogen, tilltalande och accepterbar i sådana annonser. Slutsatsenblev att fotografier där exponeringen korrigerats för att skapa en tydligare bildvar det mest accepterade. Skillnader i åsikter mellan åldrar, kön, de som haroch inte har tidigare erfarenhet av fotografi och retuschering diskuterades ochdet visade sig att kvinnor och de utan tidigare erfarenhet var lite mer kritiskatill efterbehandling. Det framkom att en del betraktare kan accepteraytterligare efterbehandling om den genomförs för att sälja en specifik känslaoch så länge inte betraktaren kan känna sig vilseledd.

L’image comme outil didactique dans l’enseignement du français dans des collèges et des lycées en Suède

Le travail actuel a été rédigé dans le but d’éclaircir en quoi consiste le rôle de l’image comme outil didactique aux cours de français aux collèges et aux lycées suédois. Nous avons abordé notre thème sous des perspectives différentes : d’un côté, nous avons analysé les images dans deux livres, puisque les manuels font souvent partie de chaque leçon de français ; de l’autre côté, nous avons fait un questionnaire que nous avons distribué aux professeurs à travers les médias sociaux et par email. Nous avons également étudié les données récoltées aux cours des entretiens avec trois professeurs de français au lycée suédois, pour savoir comment les professeurs intègrent des images dans la pratique. Selon les résultats de notre étude, il nous a été possible d’affirmer que l’image est un outil qui n’est pas omniprésent, mais qui est parfois utilisé afin de rendre les leçons plus variées. La photographie est le type d’image le plus répandu dans la pratique des professeurs et dans les manuels ; le format numérique est le plus fréquent en tenant en compte de la révolution technologique et de l’habitude des jeunes à travailler avec les ordinateurs. Cependant, l’image n’est pas un outil indépendant. Elle est très souvent complétée par d’autres outils didactiques et sert principalement à accompagner la lecture, à développer l’expression orale et le vocabulaire et aussi à illustrer des phénomènes culturels. En conclusion, il ressort de notre mémoire, qu’il est important que le professeur accompagne le travail avec des images avec des instructions et des commentaires, afin de rendre l’apprentissage plus efficace.

Metamorphic epiphany -- 3D animation

As far back as I can remember, I have always been interested in studio art. Whether it be painting, drawing, printmaking, or photography, it has consistently been a part of my life. Upon enrolling in Colby, I became interested in computers and decided to major my undergraduate college career in Computer Science. Not forgetting past interests, I continued my studio art education, taking several classes within the Art department. In due time, I began combining interests and began studying Computer Graphics and Design. With limited resources in this field at Colby, the majority of my computer graphic education and experience has been done on my own time apart from regular classroom work. As time progressed, so did my interests. Starting with simple image manipulation of digitally scanned photographs, I moved on to Web Page design, eventually leading to Desktop Publishing. Ultimately, I wanted to take a step further and expand my overall computer graphic knowledge by learning 3D modeling and animation. With even fewer resources in 3D animation at Colby, I perceived having trouble finding the information and tools I would need to gain the necessary skills for this new field. The Senior Scholars program gave me the opponunity to find and acquire the necessary tools to pursue my interest. This program also allowed me to devote the proper amount of time required for learning these new tools.

Developing a Model for Pedestrian Route Selection at Colby

Millions of unconscious calculations are made daily by pedestrians walking through the Colby College campus. I used ArcGIS to make a predictive spatial model that chose paths similar to those that are actually used by people on a regular basis. To make a viable model of how most travelers choose their way, I considered both the distance required and the type of traveling surface. I used an iterative process to develop a scheme for weighting travel costs which resulted in accurate least-cost paths to be predicted by ArcMap. The accuracy was confirmed when the calculated routes were compared to satellite photography and were found to overlap well-worn “shortcuts” taken between the paved paths throughout campus.

Herbert M. Sussman

Portrait of Herbert M. Sussman, president 1972-1977. Herbert M. Sussman was the College's fifth president. He was inaugurated on June 8, 1972 and the school's commencement ceremony. He served from 1972-1977. By this time, New York City Community College of Applied Arts and Sciences was part of the CUNY system and had merged with the Vorhees Technical Institute.

Otto Klitgord

This photo shows Otto Klitgord speaking at a college event. Otto Klitgord was the first president of the New York City College of Technology. He was named director of the New York State Institute of Applied Arts and Sciences when it was formed in the 1946 and became president in the 1950s when the administration was reorganized. Klitgord served until 1960, making his tenure as president the longest in City Tech's history.

1988 Yearbook

Vol. 7; Sept. 1988; 109 p. b&w, color photographs TOC: Life at LaGuardia…2 / Activities and Events…17 / Faculty and Staff…33 / Activities at LaGuardia…49 / Graduation…71 Yearbook Committee Credits: Faculty Advisor, Vincent Banrey; Project Director, Catherine Whan; Editors: Alexandra Gomez, Juan Jimenez, GloryAnn Torres; Asst. Editor, Kenny Rosa; LAYOUT: Vincent Banrey, Marino "Tito" Cabrera, Shirley Chance, George Condors, Milton Ferreira, Maria Flores, Alexandra Gomez, Ana Lisa Gonzalez, Bernadette Henry, Juan Jimenez, Alejandro Meneses, Richard Provost, Kenny Rosa, Maria Sanchez, GloryAnn Torres, Catherine Whan, Alan O. Young; PHOTOGRAPHY: Peter Abbate, Sandra Acres, Young Baek Choi, Randy Fader Smith, Milton Ferriera, Alexandra Gomez, Juan Jimenez, Seymour Lerman, Chuck Lindsey, Victoria Pamias, Richard Provost, Alan Scribner, Frank Tocco, GloryAnn Torres, Catherine Whan. ART: Jose Marti (Cover Design and Division Pages); Martin Carrichner, Jose Marti (Endsheet Design), Arnold Escalera, Jacqui Fernandez, Richard Massey, Alejandro Meneses; WRITING: Anthony Archer, Alexandra Bastidas, Joie Fadde, Alexandra Gomez, Ana Lisa Gonzalez, Doreen Hansen, Bernadette Henry, Sarah Hudson, Juan Jimenez, Donna Libert, Cathy Passiglia, Jody Pincus, Richard Provost, Kenny Rosa, Maria Sanchez, Alan Scribner, Christiana Sommerville, GloryAnn Torres, Catherine Whan, Alan O. Young; SPECIAL THANKS: Blanca Arbito, Classic Studios, Edward Hollins, Umoja Kwanguvu, Kelly Johnson and the LaGuardia Archives, Andrew Saluga and Recreation Staff, Ted Schiffman of Taylor Publishing.

1973 Yearbook

New Horizons ’73; 154 p., b&w photographs. CREDITS: FACULTY ADVISOR, ROBERT McVEIGH, OFFICE OF THE PRESIDENT; YEARBOOK REPRESENTATIVE, RON WEINMAN, FOR AMERICAN YEARBOOK; EDITORS: ANN TRZCINSKI, CAROL ClCCIARI, FRAN ATTONITO, GLORIA WALC, JOANN O'CONNOR, KATHY TRAEGER, LINDA McKENNA, LOUISE THARARUS, MERYL SUSSER, PATTY GIL; INSIDE COVER, CAROL CICCIARI; COVER DESIGN, GLORIA WALC AND CAROL CICCIARI; PHOTOGRAPHY, JOSEPH A. WALC (LEHMAN COLLEGE), KATHY TRAEGER, VINCENT NANFRA; EXTRA CREDITS, HOWARD PARNES, SAM KONIGSBERG PHOTOS, ANYONE ELSE WHO WE LEFT OUT

A construção do Centro de Memória da Serrinha

Este trabalho apresenta, um panorama sobre os cerca de 100 anos de formação dasfavelas cariocas e especificamente sobre o Morro da Serrinha, em Madureira, zonanorte da cidade do Rio de Janeiro, observando a lacuna que existe quanto àpreservação de suas memórias e a importância em se reverter esta situação. Apesquisa é centrada na preservação do Jongo, ritmo trazido de Angola pelos negrosbantos e que foi tombado pelo Instituto do Patrimônio Histórico e Artístico Nacional, em2005, como o primeiro Bem Imaterial do Estado do Rio de Janeiro. A comunidade daSerrinha a mantém a prática cultural do jongo vivo na cidade do Rio de Janeiro.A proposta é a de criação e implementação do Centro de Memória da Serrinha, emfase de implantação, onde funcionará uma escola-museu para 60 jovens. Através deoficinas técnicas de vídeo, fotografia e áudio, serão produzidos novos registros sobre ahistória local bem como reunidos documentos e obras que se encontram espalhadoscom produtores externos à comunidade e disponibilizados ao público na biblioteca doCentro, bem como no site do Grupo Cultural Jongo da Serrinha.

Processo de escolha de bancos de imagens: aplicações no marketing business to business

The general objective of this research is to verify which attributes are most relevant to a stock photography agency that represent the purchaser's standards of choice. For this objective to be accomplished, qualitative interviews with the customers of stock photography agencies had been made in order to raise the attributes considered with relevance in the process of choice for the Brazilian stock photography agency market. The levels of each attribute to be tested had arisen through the mapping of the products and services offered by the competition and the relative weight assigned to each one of the attributes related to the research in the choices for a stock photography agency. A transversal study was made with a sample of stock photography agencies customers from Brazil¿s Southeastern region. For the analysis of this data, a survey method was used, that, according to MALHOTRA (2006: 182), involves a structuralized questionnaire to be answered by an interview that elucidates specific information, in which the questions had a predetermined order. This questionnaire was presented through interviews on the Internet. The method adopted for this analysis was a joint analysis. A sampling of 1000 customer stock photography agencies were selected, which were represented by a didactic book editor, advertising agencies, editorial companies, etc., in the states of Rio de Janeiro, São Paulo, Espírito Santo and Minas Gerais. They had been obtained by 16 stimulations, or cards, for the application of the companies. Of the sample of 1000 customers of stock photography agencies, 7,8% responded to the research. The attribute most relevant in accordance with the presented results is the availability of images in high resolution for layout. Its relative importance was 40,78%. At the end of the study, the management implications were propitiated to the stock photography agencies managers inabling them to be more competitive.