PARTICLES AND PHOTOGRAPHY

The technical and commercial developments of photography are outlined. The roles of particles in the black-and-white and color photographic processes are described in terms of the basic technology of photography. The desired properties of particles in photographic systems are also described, several illustrations of photographic particles and of particles in photographic systems are presented. An example of the properties of photographic systems that depend on the particle properties is also presented.     

NOTES ON PHOTOGRAPHY AND CULTURAL TRANSLATION

The essay explores issues in the cultural translation of photographic images and ideas, particularly between East and West. Audiences and institutions continue to fall prey to the persistent notion that photography should demonstrate aspects of national identity. This foregrounding of cultural difference inhibits more layered interpretations. The work of cultural translation involves the movement of subjects rather than objects, with dialogue and personal experience essential to understanding. Drawing on the author’s experience working in China, the essay looks to Homi K. Bhabha, Jacques Rancière and 1960s critical pedagogy for constructive terms to shift the perspective of photographic education.     

PHOTOGRAPHY

Disturbingly, one important constituent within the photographic habitus has remained conspicuously absent from most discussions in what has come to be called Post-Photography. This particular, which since the nineteenth century has routinely been considered a key stage in the photographic workflow, is the human photographer. Therefore, this article delineates the presence of the human photographer in photography, its first appearances, its rise to prominence and its subsequent fall. In doing so, it attempts to explain how we taught ourselves to think of photography as a human-centric form of art-making and whether we ought to continue thinking of it as such. It begins with historical accounts of photography’s “machinism”, it then discusses modernist accounts of photography as an act of artistic ingenuity, followed by several modalities that have recently become available through digital and networked technologies. The article concludes with an alternate account of photography today and the likely place of both human photographer and viewer within it in the foreseeable future.     

PHOTOGRAPHY AND LANDSCAPE IN ITALY IN THE 1980S

In the 1980s and the beginning of the 1990s many Italian photographers worked so intensely on the transformation of contemporary landscape, often participating in group projects and in public commissioned projects. The phenomenon was so large and important that we can talk about an “Italian landscape photography school”, although these photographers were different from one another. They were looking for a different idea of landscape, far from the stereotypes of the “Beautiful Country”, as Italy is called, and far from tourist and folklore clichés. Their artistic and civil engagement contributed to change and update Italian photography and to “institutionalize” it, bringing it into public archives and museum collections.     

摄影树胶重铬酸盐工艺的应用与探索

正1.树胶重铬酸盐工艺的概述摄影传统印相工艺包括如蓝晒法(图1-1)、蛋白工艺(图1-2)、铂金印相法、湿法火棉胶玻璃板工艺(图1-3)、树胶重铬酸盐工艺(图1-4)等非银盐工艺形式。随着摄影术的发展,其技术不断的变化,由于传统印相工艺不能满足商业的需求,所以早期在中国几乎未登入摄影艺术的殿堂,相关资料匮乏、材料价格昂贵无疑从根源上扼制了传统工艺的发展。导致如今在中国缺乏对摄影印相工艺实验的研究,缺     

设计摄影

科宝博洛尼——明西廊，富士F40fd相机，马爹利蓝带，微软无线迷你鲨鼠标，东芝电视42WL68C。[编者按]     

A SLIT THROUGH PHOTOGRAPHY

Post-war experimental and conceptual photography in former Yugoslavia has only rarely been the subject of detailed study and interpretation. In considering this period, it is necessary to take into account several factors, including the absence of permanent exhibition spaces for photography, the lack of magazines in which photographic themes were presented and discussed, the impossibility of studying the field of photography and, finally, the inadequate knowledge and application of contemporary criticism and theories of photography. Nevertheless, from the mid-1950s onwards it is possible to note a variety of innovations in the field, in terms of both form and subject-matter. This article considers rare instances of institutional support for progressive photography-related events and unique, intellectual-poetic works. After the break-up of Yugoslavia, there is a dominant tendency to nationalize art created in the former state, thus ignoring the specific Yugoslav cultural field as well as the European context. Based on a methodology which surpasses the national (but still acknowledges it) and searches for meaning within the broader socio-political space to which art is referring, the research aims to change the paradigm of the peripheral position and general ignorance of the circumstances under which this innovative practice emerges.     

PHOTOGRAPHY IN THE DIGITAL

Photography in the digitally created or digitized reality is an everyday activity that is rarely discussed in the context of photographic debates. This refers to practices such as in-game photography or, simpler yet, the screenshot. The paper focuses on their history, the specific status and materiality of these images of screens. Their (hi)story begins with screen image photography of measured data on cathode ray tubes and the photographic capture of x-ray screens. Screenshots and in-game photography can be seen throughout this context but they are cameraless and can therefore be understood and discussed within a long history of experimental photographic practices. Should we speak here at all of photography? If so, what is their photographic specificity? Which image of reality do they provide us?     

倾斜摄影技术在老旧社区改造与管理中的应用

虽然倾斜摄影技术已在测绘行业有较广的应用,但在社区改造与管理中仍然缺少应用实例.倾斜摄影三维重建技术具备诸多优势,本文以老旧社区改造与管理为例,讨论了该技术在社区改造与管理流程中的不同应用场景.     

条形药包端部加药高速摄影试验研究

本文介绍了应用高速摄影技术进行条形药包端部加药的试验研究。通过对条形药包端部加药后鼓包运动速度的分析研究,证明了端部加药及加药量对条形药包爆炸能量的瞬间作用力、爆炸能量分布和端部能量损失的作用。     

THE VIRTUAL LIFE OF PHOTOGRAPHY

The premise of this article is that although photography is proliferating and diversifying, we still do not know what it is. In order to find out what it is, we must look at it from both the outside and the inside: we must consider both the condition of photography, and its ontology. New media studies, science and technology studies, and other related fields help to illuminate the condition of photography, or its exteriority. But it is philosophy which enables us to address, directly, and from the inside, the question of ontology. The article proposes that this ontology is one of becoming, not of Being, and that it can be understood through Bergson's terms of memory and intuition. Memory, as an ontology of becoming, constitutes the virtual life of photography, and intuition, as a method of understanding, enables us to apprehend it.     

REFRAMING DOCUMENTARY PHOTOGRAPHY IN CHINA

This paper examines the changing cultural and institutional conditions that have indigenized “documentary photography” in post-socialist China. It highlights the interweaving of intellectual, journalistic, and curatorial interpretations of “documentary.” It argues that the promotion of “documentary” as a genre of contemporary art in this process undermines photography’s claim to truth but is crucial to the reformulation of Chinese socialist realism.     

电子散斑照相技术的研究

本文首次提出电子散斑照相技术的新概念,对散斑图的记录与再现全部由计算机来完成。这一技术既不需要全息干板,显影,定影等照相过程,也不需要光学再现过程,实现了散斑照相的全电子化。因此,该技术不仅可以实时地测量瞬态场,而且不需要暗室及其照相处理过程。这样为散斑照相技术走出先学实验室,实现仪器化创造了条件。有广泛的工程应用前景。本文给出了电子散斑照相的基本原理与实验结果,分析了实验参数对电子散斑照相的影响。     

电子式狭缝弹道摄影相机

本文介绍在开发一种新的器件的基础上，采用新的原理可以研制一种电子式狭缝摄影相机，性能优良，能够取代传统的狭缝摄影相机，并有拍摄多幅图象的功能和具有测速功能，本文对工作原理和研制的可行性及经济效益进行分析和评估。     

轴承外圈破裂失效分析

用化学成分分析、金相组织检验以及断口宏观、微观分析等方法对轴承外圈早期破裂进行了分析。结果表明,该轴承外圈破裂的主要原因是装配不当,致使其外表面发生了严重的磨损和烧伤;另外,外圈材料组织中存在断续网状碳化物,对裂纹的扩展及最终破裂起到了促进作用。     

TRACES OF THE TERRITORY IN SPANISH PHOTOGRAPHY SINCE THE 1990s

This paper proposes a reading of the cultural and social aspects associated with sundry notions of territory through Spanish photography at the end of the twentieth century and the beginning of the twenty-first. An analysis of a series of case studies reveals a new awareness of the common space through the concept of trace, being understood beyond the material imprint, as it falls under the influence of the cultural aspects that clarify the account of the conflict and consciousness of the suburbs and peripheries. Contemporary ruins arising from unbridled urban growth, or the invisible wounds associated with certain places, converge in a series of images that have their own tradition in the conceptual experiments of the 70s and the aesthetics of the “non-site” displayed in the 90s. As background, the economic and political avatars of recent years in Spain – also linked to a global crisis – are manifested in a series of photographic musings whose images portray the scenarios of a premature ruin linked to property speculation and the traces of a collective memory.     

TENSILE IMPACT DELAMINATION OF A CROSS-PLY INTERFACE STUDIED BY MOIRÉ PHOTOGRAPHY

Abstract Impact induced delamination along a cross-ply interface in carbon fiber/epoxy laminates is studied by high resolution moiré photography. The specimens were loaded in a tensile split-Hopkinson bar giving mode I dominated fracture, and a high speed camera captures images during loading and delamination. The resulting moiré fringes are analysed to produce full field displacement maps of the area around the loaded and propagating crack tips. The displacement map prior to failure shows good agreement with numerical solutions, calculated using a 3D self-adaptive p-version of the finite element method. The calibrated finite element solutions are then used to give further information about the matrix cracking zone size around the crack tip and the energy release rate. In comparison to quasi-static loading, tensile impact loading was found to increase the failure load and the resulting energy release rates; some physical explanations for this behaviour are discussed. It was concluded that the procedures presented have good potential for further determination of rate dependent material properties in carbon/fiber epoxy composites.