Seabed photographs taken along OFOS profiles during POLARSTERN cruise PS96 (ANT-XXXI/2 FROSN)

Within the context of the overall ecological working programme Dynamics of Antarctic Marine Shelf Ecosystems (DynAMo) of the PS96 (ANT-XXXI/2) cruise of RV "Polarstern" to the Weddell Sea (Dec 2015 to Feb 2016), seabed imaging surveys were carried out along drift profiles by means of the Ocean Floor Observation System (OFOS) of the Alfred Wegener Institute, Helmholtz Centre for Polar and Marine Research (AWI) Bremerhaven. The setup and mode of deployment of the OFOS was similar to that described by Bergmann and Klages (2012, doi:10.1016/j.marpolbul.2012.09.018). OFOS is a surface-powered gear equipped with two downward-looking cameras installed side-by-side: one high-resolution, wide-angle still camera (CANON® EOS 5D Mark III; lens: Canon EF 24 f/1.4L II, f stop: 13, exposure time: 1/125 sec; in-air view angles: 74° (horizontal), 53° (vertical), 84° (diagonal); image size: 5760 x 3840 px = 21 MPix; front of pressure resistant camera housing consisting of plexiglass dome port) and one high-definition color video camera (SONY® FCB-H11). The system was vertically lowered over the stern of the ship with a broadband fibre-optic cable, until it hovers approximately 1.5 m above the seabed. It was then towed after the slowly sailing ship at a speed of approximately 0.5 kn (0.25 m/s). The ship's Global Acoustic Positioning System (GAPS), combining Ultra Short Base Line (USBL), Inertial Navigation System (INS) and satellite-based Global Positioning System (GPS) technologies, was used to gain highly precise underwater position data of the OFOS. During the profile, OFOS was kept hanging at the preferred height above the seafloor by means of the live video feed and occasional minor cable-length adjustments with the winch to compensate small-scale bathymetric variations in seabed morphology. Information on water depth and height above the seafloor were continuously recorded by means of OFOS-mounted sensors (GAPS transponder, Tritech altimeter). Three lasers, which are placed beside the still camera, emit parallel beams and project red light points, arranged as an equilateral triangle with a side length of 50 cm, in each photo, thus providing a scale that can be used to calculate the seabed area depicted in each image and/or measure the size of organisms or seabed features visible in the image. In addition, the seabed area depicted was estimated using altimeter-derived height above seafloor and optical characteristics of the OFOS still camera. In automatic mode, a seabed photo, depicting an area of approximately 3.45 m**2 (= 2.3 m x 1.5 m; with variations depending on the actual height above ground), was taken every 30 seconds to obtain series of "TIMER" stills distributed at regular distances along the profiles that vary in length depending on duration of the cast. At a ship speed of 0.5 kn, the average distance between seabed images was approximately 5 m. Additional "HOTKEY" photos were taken from interesting objects (organisms, seabed features, such as putative iceberg scours) when they appeared in the live video feed (which was also recorded, in addition to the stills, for documentation and possible later analysis). If any image from this collection is used, please cite the reference as given above.

Seven Photographs of Cerridwen Salon events

Inscription: Verso: Cerridwen Salon, New York, ritual.

Seven Photographs of Cerridwen Salon events

Inscription: Verso: Cerridwen Salon, New York. Performance by Emmatroupe.

Seven Photographs of Cerridwen Salon events

Inscription: Verso: Cerridwen Salon, New York, ripening ritual.

Seven Photographs of Cerridwen Salon events

Inscription: Verso: Cerridwen Salon, New York.

Seven Photographs of Cerridwen Salon events

Inscription: Verso: Cerridwen Salon, New York. Alida Walsh, slide performance artist.

Seven Photographs of Cerridwen Salon events

Inscription: Verso: Cerridwen Salon, New York.

Seven Photographs of Cerridwen Salon events

Inscription: Verso: Cerridwen Salon, New York. New Cycle Theatre performing at Cerridwen Salon.

Shape from photographs:a multi-view stereo pipeline

Acquiring 3D shape from images is a classic problem in Computer Vision occupying researchers for at least 20 years. Only recently however have these ideas matured enough to provide highly accurate results. We present a complete algorithm to reconstruct 3D objects from images using the stereo correspondence cue. The technique can be described as a pipeline of four basic building blocks: camera calibration, image segmentation, photo-consistency estimation from images, and surface extraction from photo-consistency. In this Chapter we will put more emphasis on the latter two: namely how to extract geometric information from a set of photographs without explicit camera visibility, and how to combine different geometry estimates in an optimal way. © 2010 Springer-Verlag Berlin Heidelberg.

Through the Lenses of Q’eqchi Maya: (Re)Framing the Story of Development in a Guatemalan Indigenous Community Through Participant-Created Photographs

The question of evaluations of development projects has been widely debated within the field of international development, with scholars and development practitioners calling for increased community-driven evaluations. However, there has been a paucity of research in community-led project evaluations, and a largely absent investigation utilizing visual anthropology/sociology methodologies. This paper seeks to shift this power by giving voice to the intended beneficiaries of an eco-tourism project in a rural indigenous Guatemala village. Through photographs taken by community members and corresponding interviews, this paper shows the way in which community members have and continue to reframe the idea of development in their village. Specifically, my analysis reveals how residents see changing forms of access, how they reframe ideas of beauty and modernization, and how they reframe their relationship to the land through Western conservation and private property ideals. This research thus provides an alternative narrative to the Western NGO’s evaluations and knowledge production, especially in respect to development and indigenous knowledge. By showing how community members are reframing the story of development, this paper demonstrates the usefulness of using participatory documentary photography in community-led evaluations, and helps balance the playing field by providing a much-needed alternative narrative of project evaluation.

Sea-bed photographs (benthos) from the Weddell Sea along two ROV profiles during Polarstern cruise ANT-XIII/3

Young specimens of cf. Pagothenia borchgrevinki were observed for the first time to cling to the subsurface of the marginal ice shelf in Drescher Inlet, southeastern Weddell Sea. Along an approximately 40-m-long videotransect at 80 m water depth, the abundance was roughly estimated to be 7 individuals per 10 m**2. This behaviour is interpreted to represent the most advanced adaptation to ice as a microhabitat for Antarctic fish.