The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20th and 21st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well as visibitity of (...) amateur photographs? In our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples. (shrink)

The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20th and 21st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well as visibitity of (...) amateur photographs? In our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples. (shrink)

The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20th and 21st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well as visibitity of (...) amateur photographs? In our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples. (shrink)

The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19 th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20 th and 21 st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well (...) as visibitity of amateur photographs? In our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples. (shrink)

Fake news can originate from an ordinary person carelessly posting what turns out to be false information or from the intentional actions of fake news factory workers, but broadly speaking it can also originate from scientific fraud. In the latter case, the article can be retracted upon discovery of the fraud. A case study shows, however, that such fake science can be visible in Google even after the article was retracted, in fact more visible than the retraction notice. We hypothesize (...) that the reason for this lies in the popularity-based logic governing Google, in particular its foundational PageRank algorithm, in conjunction with a psychological law which we refer to as the “law of retraction”: a retraction notice is typically taken to be less interesting and therefore less popular with internet users than the original content retracted. We conduct an empirical study drawing on records of articles retracted due to fraud in the Retraction Watch public database. The study tests the extent to which such retracted scientific articles are still highly ranked in Google –and more so than information about the retraction. We find, among other things, that both Google Search and Google Scholar more often than not ranked a link to the original article higher than a link indicating that the article has been retracted. Surprisingly, Google Scholar did not perform better in this regard than Google Search.We also found cases in which Google did not track the retraction of an article on the first result page at all. We conclude that both Google Search and Google Scholar run the risk of disseminating fake science through their ranking algorithms. (shrink)

People often signal their membership in groups through their clothes, hairstyle, posture, and dialect. Most existing evolutionary models argue that markers label group members so individuals can preferentially interact with those in their group. Here we ask why people mark ethnic differences when interethnic interaction is routine, necessary, and peaceful. We asked research participants from three ethnic groups in southwestern Madagascar to sort photos of unfamiliar people by ethnicity, and by with whom they would prefer or not prefer to cooperate, (...) in a wage labor vignette. Results indicate that southwestern Malagasy reliably send and detect ethnic signals; they signal less in the marketplace, a primary site of interethnic coordination and cooperation; and they do not prefer co-ethnics as cooperation partners in novel circumstances. Results from a cultural knowledge survey and calculations of cultural FST suggest that these ethnic groups have relatively little cultural differentiation. We concur with Moya and Boyd that ethnicity is unlikely to be a singular social phenomenon. The current functions of ethnic divisions and marking may be different from those at the moment of ethnogenesis. Group identities may persist without group conflict or differentiation. (shrink)

Fake news can originate from an ordinary person carelessly posting what turns out to be false information orfrom the intentional actions of fake news factory workers,but broadly speaking it can also originate from scientific fraud. In the latter case, the article can be retracted upon discovery of the fraud. A case study shows, however, that such fake sciencecan be visible in Google even after the article was retracted, in fact more visible thanthe retraction notice. We hypothesize that the reason for (...) this lies in the popularity-based logic governing Google, in particular its foundational PageRank algorithm,in conjunction with a psychological law which we refer to as the “law of retraction”: a retraction notice is typically taken to be less interestingand therefore less popular with internet users than the original content retracted. We conduct anempiricalstudy drawing on records of articles retracted due to fraud in the Retraction Watch public database. The study tests the extent to which such retracted scientific articles are still highly ranked in Google –and more so than information about the retraction. We find, among other things, thatboth Google Search and Google Scholar more often than not rankeda link to the original article higher than a link indicating that the article has been retracted.Surprisingly, Google Scholar did not perform better in this regard than Google Search.We also foundcases in which Google didnot track the retraction of anarticle on the first result page at all.We conclude thatboth Google Search and Google Scholar runthe risk of disseminating fake science through theirranking algorithms. (shrink)

The AMA Council on Ethical and Judicial Affairs (CEJA) has written a position paper on how social medical use challenges medical professionalism. The report offers persuasive ethical and practical guidelines for nonclinical internet use, specifically for social networking.This commentary provides a framework from which to apply these guidelines, but adds that there may be important situations in which physicians are not able to act in accordance. The guidelines call for professional reporting of questionable online portrayals or behaviors, but this commentary (...) argues that this may be not only cumbersome to implement, but may violate aspects of constitutional rights. While online social networking may in many ways be a new application of old challenges, there may be other aspects that require novel approaches to medical professionalism. (shrink)

The everyday practice of photography by millions of amateur photographers - the family snapshots, the holiday prints, the wedding portraits - may seem to be a spontaneous and highly personal activity. But Bourdieu and his associates show that few cultural activities are more structured and systematic than the social uses of this ordinary art. This perceptive and wide-ranging analysis of the practice of photography brings out the logic implicit in this cultural field. The norms which define the occasions and (...) the objects of photography serve to display the socially differentiated functions of, and attitudes towards, the photographic image and act. For some social groups, photography is primarily a means of preserving the present and reproducing the euphoric moments of collective celebration, whereas for other groups it is the occasion of an aesthetic judgement, in which photos are endowed with the dignity of works of art. (shrink)

Digital photography is contributing to the renegotiation of the public and private divide and to the transformation of privacy and intimacy, especially with the convergence of digital cameras, mobile phones, and web sites. This convergence contributes to the redefinition of public and private and to the transformation of their boundaries, which have always been subject to historical and geographical change. Taking pictures or filming videos of strangers in public places and showing them in webs like Flickr or YouTube, or making (...) self-portraits available to strangers in instant messenger, social network sites, or photo blogs are becoming a current practice for a growing number of Internet users. Both are examples of the intertwining of online and offline practices, experiences, and meanings that challenge the traditional concepts of the public and the private. Uses of digital images play a role in the way people perform being a stranger and in the way they relate to strangers, online and offline. The mere claims about the privatization of the public space or the public disclosure of intimacy do not account for all these practices, situations, and attitudes, as they are not a simple translation of behaviors and codes from one realm to the other. (shrink)

The ubiquity of camera phones today has made us all photographers, and as these nano-devices attest, the history of photography, perhaps more so than any other art, is also a history of technology, one best revealed in the very vehicle that makes it possible—the camera. Through brief, illustrated chapters on fifty landmark cameras and the photographers who used them, Michael Pritchard offers an entertaining look at photography as practiced by professionals, artists, and amateurs. A History of Photography in Fifty Cameras (...) is organized chronologically, beginning with William Henry Fox Talbot’s wooden “Mousetrap” camera of 1835. Other entries include the Brownie, the Coronet Midget, the Kodak Instamatic 100, and, of course, the Polaroid SX-70. Photographs within each chapter show not only the cameras themselves but also samples of the images made with them. Pritchard uses each camera as a point of entry for talking about the people who used them and the kind of photos they produced, from Weegee and his Speed Graphic to Cartier-Bresson and the Leica’s role in the invention of photojournalism. In the hands of individual photographers, he reveals, cameras came to represent unique styles of depiction. Together, the stories of the fifty cameras gathered here present an approachable and informative take on a medium that continues to fire the imagination, whether we’re perfecting the selfie or longing for the days of Fotomat. (shrink)

Learn the tips and tricks used by a top photographer in the digital photography industry in Rick Sammon's Top Digital Photography Secrets. Filled with beautiful photographs and the techniques Rick Sammon used to capture them, this book offers you motivation to capture stunning photographs and the tools and tricks you need to capture them. With more than 100 techniques for use behind the camera, this book will improve the camera skills of both amateur and experienced photographers. Additionally, this book (...) includes a chapter on post-production secrets, and a Rick Sammon DVD Guide lighting, camera, and digital photography basics. In this 1-hour DVD, Rick shows you how to get great photos using a variety of lighting sources, camera-specific techniques, and basic rules of photography. (shrink)

You can freeze that one moment in time Sports photography gets you up close and personal with the action you crave, the athletes you idolize, or the activities that make memories for your children. It also provides plenty of frustration for amateurs and professionals alike. How do you shoot on a rainy day? What about the crowd at the finish line? Can you capture the tension as the ball trembles on the rim? You can, with the professional advice these experts (...) provide. No matter what your sport or level of expertise, this book can make you a better digital sports photographer. Benefit from the advice of more than 20 top sports photographers, including Terrell Lloyd, official photographer for the San Francisco 49ers Learn to handle bad lighting, weather, fast-moving athletes, flash limitations, and other challenges Identify key things to consider when switching from film to digital Get specific advice on how to shoot a wide range of sports: extreme, outdoor, indoor, competitive, recreational, and more Discover ways to sell your photos and manage legal issues See dozens of full-color examples illustrating professional tips and techniques Take great photos with any kind of digital camera, from a point-and-shoot to an SLR Find out how to get photos onto the Web easily and quickly. (shrink)

Photographs are commonly taken of children in medical and research contexts. With the increased availability of photographs through the internet, it is increasingly important to consider their potential for negative consequences and the nature of any consent obtained. In this research we explore the issues around photography in low-resource settings, in particular concentrating on the challenges in gaining informed consent.

Learn how breaking photographic rules can result in stunning black-and-white photos Black-and-white photography poses unique challenges; without color to guide the eye, contrast, lighting, and composition take on even more importance. Renowned photographer Harold Davis explains these elements and demonstrates the basic rules of black and white photography as well as when and how to break them. He breaks through the complexity of this photographic medium, explores opportunities for black-and-white imagery, and shows how to capitalize on every one. Richly illustrated (...) with the author's own images, this beautiful guide presents the skills needed for great black-and-white photos while encouraging your confidence and creativity. Goes beyond basics to teach photographers how to conquer the challenges posed by black-and-white photography Appeals to professionals and serious amateurs who are interested in exploring creative black-and-white imagery Presents photography fundamentals and shows how black and white requires some of the rules to be bent Encourages creative thinking and confidence Lavishly illustrated with Harold Davis's outstanding monochromatic photos Whether you're a professional just venturing into black and white or a serious amateur, Creative Black & White will both educate and inspire you. (shrink)

This book will appeal to general readers and sociologists as well as art historians because of its original treatment of early photography as a manifestation of class concerns.

A full-color reference-and-DVD package covers shooting and editing a successful multimedia project With the introduction of dSLRs with high definition video functionality, a new world of multimedia capture has been opened to digital photographers. This book shows you how to embrace the exciting new option of photo fusion, by incorporating digital video content with your photography. The author duo guides you through creating seamless multimedia presentations that maximize both still-frame and video photography functions on your dSLR. From the setting (...) up and shooting, to downloading, editing and presenting a multimedia project, this book clearly explains how to move beyond stills into the exciting world of multimedia creation. Encourages you to embrace the exciting possibilities of photo fusion in the field of wedding photography Explains how to incorporate digital video content with photography Walks you through all of the necessary steps for shooting and editing a memorable multimedia creation Details every aspect involved in setting up, shooting, downloading, editing, and presenting a multimedia project Features more than 200 color images and an indispensible DVD of inspiring examples Packed with more than 200 stunning images and featuring a 45-minute DVD, Photo Fusion presents you with inspiration and instruction so you can create your own multimedia projects. Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file. (shrink)

Drawn from the photography journal Photofile, this volume collects work by prominent critics, theorists, and cultural commentators about many of Australia's most significant photoartists. It illustrates how, located between the realms of fine art and visual culture, photography has underpinned many key developments in our understanding of both during the last decades of the twentieth century. The essays investigate a wide range of subjects including documentary photography, race and representation, and photography and national identity.

A history of rare archival amateur photographs and films from Nazi Germany.

A beetle's wing. A hood ornament. Dew shimmering on a petal. With this essential book, you'll learn to make magnificent photos of little things and small portions of bigger things.

In the mid-1990s, the Internet rapidly changedfrom a venue used by a small number ofscientists to a popular phenomena affecting allaspects of life in industrialized nations. Scholars from diverse disciplines have taken aninterest in trying to understand the Internetand Internet users. However, as a variety ofresearchers have noted, guidelines for ethicalresearch on human subjects written before theInternet's growth can be difficult to extend toresearch on Internet users.In this paper, I focus on one ethicalissue: whether and to what extent to disguisematerial (...) collected online in publishedaccounts. While some people argue thatvulnerable human subjects must always be madeanonymous in publications for their ownprotection, others argue that Internet usersdeserve credit for their creative andintellectual work. Still others argue thatmuch material available online should betreated as ``published.'' To attempt to resolvethese issues, I first review my own experiencesof disguising material in research accountsfrom 1992 to 2002. Some of the thorniestissues emerge at the boundaries betweenresearch disciplines. Furthermore, manyhumanities disciplines have not historicallyviewed what they do as human subjects research. Next, I explore what it means to do humansubjects research in the humanities. Inspiredby issues raised by colleagues in thehumanities, I argue that the traditional notionof a ``human subject'' does not adequatelycharacterize Internet users. A useful alternatemental model is proposed: Internet users areamateur artists. The Internet can be seen as aplayground for amateur artists creatingsemi-published work. I argue that thisapproach helps make some ethical dilemmaseasier to reason about, because it highlightskey novel aspects of the situation,particularly with regard to disguisingmaterial. Finally, I conclude by proposing aset of practical guidelines regardingdisguising material gathered on the Internet inpublished accounts, on a continuum from nodisguise, light disguise, moderate disguise, toheavy disguise. (shrink)

This article presents the results of an empirical study of the “sportification” of amateur-level competitive computer gaming. How do amateur players, who are unlikely to become professional esports players, turn what is considered to be enjoyable entertainment into a collective activity that demonstrates traits traditionally associated with professional sports, such as self-discipline, a focus on achieving results and overcoming personal limitations? Ethnographic research, consisting of in-depth interviews and participant observations, was conducted in the last quarter of 2019 based (...) on a series of tournaments (Rocket League, Counter-Strike: Global Offensive, League of Legends, and Rainbow Six Siege) managed by a student esports club of a Moscow-based university. Such clubs combine different levels of esports practice: players who consider themselves amateurs who attend tournaments “for fun”, players seeking professionalization and who have already received the first modest revenue from their activity, as well as players who achieved the status of a cyberathlete through membership in one of the university teams. Thus, student esports represents an ideal environment for exploring the dynamics of changes in the meanings that players put into their activity, as well as for finding elements holding to­gether what could be called “esports culture”. The analysis conducted in the present article is based not so much on the interpretations of the phe­nomenon of esports that exists in the field of game studies, as on two clas­sical sociological traditions: the writings of Erving Goffman and Howard Becker, on the one hand, and those of Max Weber and Norbert Elias on the other. As a result, the process of the “sportification” of the amateur practice of competitive computer games is presented in the article as a change in the actors’ level of reflexivity: towards the game, towards themselves during play, and towards the world around the game, occurring as they move through the stages of the “career of a competitive player”. ­. (shrink)

Learn the intricacies of High Dynamic Range photography from experts and get feedback on your work High Dynamic Range photography offers a new range of creative possibilities to the photographer who is skilled in the technique. HDR requires specific camera skills as well as the use of specialized software, and the photographers who wrote this book are experts in both. They explain the process of shooting the same subject at different exposures, combining those shots into a single HDR image, fine-tuning (...) brightness and contrast, minimizing noise, layering images, and more, including creative techniques with Photoshop and Lightroom. You can submit your HDR images for feedback at photoworkshop.com. High Dynamic Range photography offers creative possibilities through specific camera and software techniques that produce highly detailed and imaginative images Two professional photographers team up to provide expert instruction in HDR camera and software techniques for those new to HDR Covers the latest software and concepts, a comprehensive exploration of HDR basics, various techniques for shooting and merging images, and creative tricks with Photoshop and Lightroom Lavishly illustrated with new examples and full of suggestions for developing a personal HDR style Students can upload their own images for feedback at photoworkshop.com Any photographer who is new to HDR will find this guide loaded with helpful instructions and encouraging advice. (shrink)

This book covers composition, exposure, fill-flash, special creative techniques, and more. Plus, assignments at the end of each chapter sharpen your skills to for taking unique, artistic nature photographs.

This reference guide provides an important index to contemporary as well as historical photographers, including those for whom full monographs have not been published.

Anthologies of photographs are indexed by photographer, subject, and named individuals in portraits.

How to create stunning black and white photos in a digital format Shooting pictures in black and white presents unique challenges for beginners and experienced digital photographers alike. A strong understanding of photography’s fundamentals is crucial to capturing great black and white images, and factors such as contrast and lighting are much more integral to black and white photography than to color. Black and White Digital Photography Photo Workshop teaches digital photographers the skills they need to master black and (...) white photography. Focuses on the rules of photography and how they apply differently to black and white photography Offers guidance for properly uploading digital images to a computer Explains insider tips and tricks for using Photoshop and Lightroom to successfully enhance black and white images Black and white photography presents different challenges than color photography. In Black and White Digital Photography Photo Workshop, photographers learn how to identify great opportunities for black and white photographs and how to turn those opportunities into stunning monochrome images they can be proud to display. (shrink)

"I hope that in this book you find inspiration and encouragement to follow any urges you have had to make photographs that capture the spirit of a child." — GINNY FELCH Learn to trust your instincts and your own unique vision Discover how ...

Erin Manning, DIY Network host of The Whole Picture, tells aspiring photographers how to take outstanding photos of people in this full-color book filled with great images Helps readers gain the skills and confidence to successfully use the ...

Veteran professional photographer Serge Timacheff walks you through the features of the Canon EOS DSLR camera; selecting, understanding, and using lenses and accessories; and caring for your equipment. You'll also get professional insight into protecting your gear and building your skill set. Once you understand how to build a photography system that meets your needs and discover which filters and accessories are best for you, you can begin to embrace all the Canon EOS camera system has to offer. Note: CD-ROM/DVD (...) and other supplementary materials are not included as part of eBook file. (shrink)

The selection of ‘good’ pictures has increasingly become a crucial factor when transmitting news to the recipients. Every day thousands of events are happening and millions of pictures are taken. By choosing photographs for newspapers and magazines, photographic editorial departments want to attract the recipients' attention, evoke emotions and get them to read their stories. But what exactly is a good picture that meets these expectations? Which criteria are decisive for selecting pictures and what effects of this selection can be (...) measured on the recipients' side? This article presents the results of a research project carried out at the University of Erfurt in 2008 and conducted in collaboration with the German weekly magazine stern. It deals with the selection and impact of press photography by introducing the concept ‘photo news factors’. Applying the traditional news value theory to pictures, photo news factors are defined as selection criteria that, on the part of the communicator, decide whether the press photos are worth publishing. Furthermore, they are assumed to exert an influence on the intensity of attention that a picture arouses. (shrink)

The aim of this study is to describe how hermeneutic photography and one application of hermeneutic photography in particular, namely the photo-instrument, can be used as a health care intervention that fosters meaning (re-)construction of mental illness experiences. Studies into the ways how patients construct meaning in illness narratives indicate that aesthetic expressions of experiences may play an important role in meaning making and sharing. The study is part of a larger research project devoted to understanding the photostories that (...) result from groups of psychiatric patients using the photo-instrument. Within a focused ethnography approach we employed a qualitative design of a single case study. Text analysis of photostories was combined with observational data. Data were analyzed using hermeneutic theory. Participant observations were used for triangulation and complementarity. The interaction and collaboration between health care professionals and patients in the context of a photo group emerged as core concept that underlies the photo-instrument. The interaction triggered a reframing of meaning in the patient’s illness narrative that offered new perspectives on positive identity growth. The role of visualizing meaning in images was found to lend a dynamic power to the process and triggered a dialectic between real life circumstances and imagination played out in the context of situated action. The findings suggest that a positive reframing of meaning in illness narratives is facilitated by the photo-instrument. (shrink)

It is commonly held, even among non-Bazinians, that photographs are typically perceived as more objective than other forms of depiction. The implications of this putative feature of photographic reception for the fiction film have been relatively ignored. If photos do have an objective purport, it would explain the power of a common device used in horror movies where a monster is selectively revealed through a degraded image, usually an amateur video recording. However, I argue that a better explanation is (...) forthcoming. It is not the objective purport of photographs that accounts for the peculiar power of these scenes, but the power of our imaginations to picture monsters far more terrifying than those that can be readily depicted. This gives us reason to be skeptical of the idea that the objective purport of photographs contributes significantly to the reception of fiction films. (shrink)

In this paper I examine the ethics of street photography. I firstly discuss the close-up ‘in-your-face’ style street photography made famous by American photographer, Bruce Gilden. In close-up street photography, the proximity of the camera to the subject and the element of surprise work in tandem to produce a striking and evocative picture. Close-up street photography is shown to be ethically contentious on wellbeing-related and autonomy-related grounds. I next examine the more orthodox ‘respectable distance’ kind of street photography. In orthodox (...) street photography, the photographer positions the camera some distance away from a nonconsenting subject that may or may not be aware a picture is to be taken. The main ethical problem with this form of street photography relates to the subject’s vanity and sense of self. When street photographers produce and publish images without the consent of subjects, they express their own creative freedom at the expense of the subject’s right to editorial control. I discuss the scope and potentially demanding practical implications of a right to editorial control. To conclude, I offer a workable solution to the ethical dilemma facing street photographers and discuss the implications of smart phones and photo-sharing social media platforms. (shrink)

Essays extending the research in The concept of non-photography, Urbanomic/Sequence Press, 2011.

Twenty years after cultivating a new orientation for aesthetics via the concept of non-photography, François Laruelle returns, having further developed his notion of a non-standard aesthetics. Published for the first time in a bilingual edition, _Photo-Fiction, a Non-Standard Aesthetics_ expounds on Laruelle’s current explorations into a photographic thinking as an alternative to the worn-out notions of aesthetics based on an assumed domination of philosophy over art. He proposes a new philosophical photo-fictional apparatus, or philo-fiction, that strives for a discursive (...) mimesis of the photographic apparatus and the flash of the Real entailed in its process of image making. “A bit like if an artisan, to use a Socratic example, instead of making a camera based off of diagrams found in manuals, on the contrary had as his or her project the designing of a completely new apparatus of philo-fiction, thus capable of producing not simply photos, but photo-fictions.” One must enter into a space for seeing the vectorial and the imaginary number. Laruelle’s philo-fictions become not art installations, but “theoretical installations” calling for the consideration of the possibility of a non-standard aesthetics being of an equal or superior power to art and philosophy, an aesthetics in-the-last-instance that is itself an inventive and creative act of the most contemporary kind. (shrink)

Creative Photography and Wales explores the photographic tradition in Wales through the work of American photojournalist Eugene Smith's work in Wales in the 1950s. Smith is regarded as a master of the photo essay and one of the most significant photographers of the twentieth century, and his photographs, set in the context of the work of photographers who shot the region in subsequent years—including those engaged in the “Valleys Project” during the 1980s—help us understand the ways in which twentieth (...) century photography fixed an image of Wales, one that still resonates today. (shrink)