共查询到16条相似文献,搜索用时 31 毫秒
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一、前言
在数字技术进入到摄影领域后,任何一次技术上的革新都无法与数字技术对摄影的影响相提并论,数字技术不仅大大缩短了摄影的工作流程,而且丰富了摄影在艺术、商业等领域的表现手段,并且使摄影更加大众化、普及化.在当下,随着市场的需要,高品质的数字影像在商业摄影领域发挥着举足轻重的作用,数字技术已经完全渗透到商业摄影的整个工作流程当中. 相似文献
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Allan Mills 《History of Photography》2013,37(3):278-287
Kirlian photography records the corona discharge that commonly surrounds any conductive object placed in a dielectric enclosure at atmospheric pressure within a high voltage/high frequency electric field. That generated by a Tesla coil is particularly effective. Kirlian photography was popular in the decade between 1970 and 1980, and leaves and the tips of fingers were common subjects. The discharge usually took the form of bluish spicules and glows proceeding from sharp points and edges of the specimen, and around ridges and elevations in its interior. The overall appearance of the discharge is dependent on many factors, and may continually change on a small scale. Reproducibility is therefore poor. There is no satisfactory proof of claims that the coronae around finger tips reflect the physical or mental health of the subject or can disclose psychic influences. 相似文献
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从装备到技术,为你的野外摄影计划做好准备!冬日已至,春天还会远吗?在室内暖炉边待了一个冬天的你,是不是已经觉得筋骨变得疲惫,身心也慵懒了下来呢?那么就同我们一起为即将来临的春天做好准备,打点你的相机和行装,等着去大自然里放飞你憋屈了一整个冬季的心灵吧!我们特地为你提前奉上这十余页 相似文献
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J. Malia Appleford 《History of Photography》2013,37(2):194-195
Abstract In his exhibition catalogue The Body Exposed: 150 Years of the Nude in Photography (Zurich 1995), Michael Kohler expresses the hope that ‘nobody will shy away from taking a closer look at nude photography, its aesthetics, its history and its ideology under the illusion that there is nothing left to discover; for it's exactly the opposite’. In fact, true academic attention toward the nude photograph has been surprisingly limited, the genre leaving behind instead a trail of pseudo-academic coffee-table books and prodigious, but unanalysed, collections. This is perhaps the reason that Michelle Olley's book is at once so heartening and so disappointing. Venus presents an anthology of erotic, and predominantly nude, photography of women spanning approximately the last 40 years. Unfortunately, where such a collection could be a prime opportunity to finally provide a cogent and analytical narrative of the genre's recent history, Olley instead offers a sparse text that uses the photographs merely as evidence of the modern world's sexual liberation. She asserts that ‘Our attitudes toward sex and sexuality, women and the depiction of erotic subjects has shifted, so that society no longer hides the nude away from us as something forbidden and too shocking even for adults’. Her argument is supported by a cursory history of the female nude in painting and photography and by references to ‘restrictive’ Victorian morality. This single-mindedness glosses over the diversity of issues posed by the photographs in the collection — issues such as identity, isolation and interaction, confinement and freedom, universality and incident. 相似文献