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Nature and Photography in Texas
101_naturephotography.qxp:Layout 1 9/22/09 10:33 AM Page 1 Resources Principles of Ethical ® Life’s better outside. BOOKS: Field Practices AddisonWesley Publishing Company. 1991. By the editors of Eastman Kodak Company. The Joy of Photography. ENVIRONMENTAL: KNOWLEDGE OF SUBJECT TDO Bauer, Erwin and Peggy Bauer. 1985. Photographing wild Texas. OU O AND PLACE R University of Texas Press, Austin. 112 pp. Learn patterns of animal behavior. Know when not to Hill, Martha and Art Wolfe. 1993. The art of photographing interfere with animals’ life cycles. nature. Crown Publishers, NY. 184 pp. Nature Kiefer, John. 2006. Mastering Nature Photography: Respect the routine needs of animals. Remember that Shooting and Selling in the Digital Age (paperback). others will attempt to photograph them, too. Allworth Press, 288 pp. Use appropriate lenses to photograph wild animals. Lepp, George. 1997. Beyond the Basic II: More Innovative Photography If an animal shows stress, move back and use a Techniques for Outdoor/Nature Photography (paperback). longer lens. Lepp and Associates, 162 pp. IN TEXAS Miotke, Jim. The BetterPhoto Guide to Digital Nature Acquaint yourself with the fragility of the ecosystem. Photography (paperback). Amphoto Books, 224 pp. Stay on trails that are intended to lessen impact. Morris, Arthur. 2003. Art of Bird Photography: The Complete Guide to Professional Field Techniques (paperback). Amphoto SOCIAL: KNOWLEDGE OF RULES AND LAWS Books, 160 pp. When appropriate, inform managers or other National Geographic Photography Field Guide Series. 2002. authorities of your presence and purpose. Help Landscapes and People and Portraits. National Geographic minimize cumulative impacts, and maintain safety. -
What Resolution Should Your Images Be?
What Resolution Should Your Images Be? The best way to determine the optimum resolution is to think about the final use of your images. For publication you’ll need the highest resolution, for desktop printing lower, and for web or classroom use, lower still. The following table is a general guide; detailed explanations follow. Use Pixel Size Resolution Preferred Approx. File File Format Size Projected in class About 1024 pixels wide 102 DPI JPEG 300–600 K for a horizontal image; or 768 pixels high for a vertical one Web site About 400–600 pixels 72 DPI JPEG 20–200 K wide for a large image; 100–200 for a thumbnail image Printed in a book Multiply intended print 300 DPI EPS or TIFF 6–10 MB or art magazine size by resolution; e.g. an image to be printed as 6” W x 4” H would be 1800 x 1200 pixels. Printed on a Multiply intended print 200 DPI EPS or TIFF 2-3 MB laserwriter size by resolution; e.g. an image to be printed as 6” W x 4” H would be 1200 x 800 pixels. Digital Camera Photos Digital cameras have a range of preset resolutions which vary from camera to camera. Designation Resolution Max. Image size at Printable size on 300 DPI a color printer 4 Megapixels 2272 x 1704 pixels 7.5” x 5.7” 12” x 9” 3 Megapixels 2048 x 1536 pixels 6.8” x 5” 11” x 8.5” 2 Megapixels 1600 x 1200 pixels 5.3” x 4” 6” x 4” 1 Megapixel 1024 x 768 pixels 3.5” x 2.5” 5” x 3 If you can, you generally want to shoot larger than you need, then sharpen the image and reduce its size in Photoshop. -
Wildlife Photography Over Nature Photography
International Journal of Humanities and Social Science Invention (IJHSSI) ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 9 Issue 9 Ser. II || September 2020 || PP 49-52 Wildlife Photography over Nature Photography D. Randula Podduwage1, R.M.Patrick Ratnayake2 1, 2 – Drama & Theatre and Image Arts Unit, Department of Fine Arts, University of Kelaniya, Sri Lanka. ABSTRACT Wildlife photography is one of the most popular genres in photography. Although the history of wildlife photography goes back more than 100 years, until recently there was no internationally accepted definition for it. Since 2015, a number of leading photography organizations around the world have filled this gap, establishing the wildlife photography genre as a more consistent subject area, subject to a common international definition. The main purpose of this article is to identify the exact shape of the wildlife photography genre by considering the specific newly introduced definition with referring to existing sources. ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 10-09-2020 Date of Acceptance: 25-09-2020 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION Capturing nature and wildlife images is an exclusive subject area of photography. It consists with the collaboration knowledge of few subjects like Photography, Art, Technology, -
Foveon FO18-50-F19 4.5 MP X3 Direct Image Sensor
® Foveon FO18-50-F19 4.5 MP X3 Direct Image Sensor Features The Foveon FO18-50-F19 is a 1/1.8-inch CMOS direct image sensor that incorporates breakthrough Foveon X3 technology. Foveon X3 direct image sensors Foveon X3® Technology • A stack of three pixels captures superior color capture full-measured color images through a unique stacked pixel sensor design. fidelity by measuring full color at every point By capturing full-measured color images, the need for color interpolation and in the captured image. artifact-reducing blur filters is eliminated. The Foveon FO18-50-F19 features the • Images have improved sharpness and immunity to color artifacts (moiré). powerful VPS (Variable Pixel Size) capability. VPS provides the on-chip capabil- • Foveon X3 technology directly converts light ity of grouping neighboring pixels together to form larger pixels that are optimal of all colors into useful signal information at every point in the captured image—no light for high frame rate, reduced noise, or dual mode still/video applications. Other absorbing filters are used to block out light. advanced features include: low fixed pattern noise, ultra-low power consumption, Variable Pixel Size (VPS) Capability and integrated digital control. • Neighboring pixels can be grouped together on-chip to obtain the effect of a larger pixel. • Enables flexible video capture at a variety of resolutions. • Enables higher ISO mode at lower resolutions. Analog Biases Row Row Digital Supplies • Reduces noise by combining pixels. Pixel Array Analog Supplies Readout Reset 1440 columns x 1088 rows x 3 layers On-Chip A/D Conversion Control Control • Integrated 12-bit A/D converter running at up to 40 MHz. -
Conservation Photography Wilderness Values Wilderness Education Tanzania, Italy, Russia, Guianas INTERNATIONAL Journal of Wilderness
Conservation Photography Wilderness Values Wilderness Education Tanzania, Italy, Russia, Guianas INTERNATIONAL Journal of Wilderness APRIL 2005 VOLUME 11, NUMBER 1 FEATURES INTERNATIONAL PERSPECTIVES (continued) EDITORIAL PERSPECTIVES 31 The Ruaha National Park, Tanzania 3 Can We Let Wilderness Just Be Wilderness? BY SUE STOLBERGER BY CHAD P. DAWSON 35 Wilderness Is More Than “Nature” SOUL OF THE WILDERNESS BY FRANCO ZUNINO 4 A Wilderness Challenge BY MICHAEL FROME 38 Plant Community Monitoring in Vodlozhersky National Park, Karelia, Russia STEWARDSHIP BY RALPH DUNMORE 8 Conservation Photography Art, Ethics, and Action BY CRISTINA MITTERMEIER WILDERNESS DIGEST 43 Announcements and Wilderness Calendar SCIENCE AND RESEARCH 14 A GIS–based Inductive Study of Wilderness Values Book Reviews BY GREGORY BROWN and LILIAN ALESSA 46 The Enduring Wilderness: Protecting Our Natural Heritage through the Wilderness Act PERSPECTIVES FROM THE ALDO LEOPOLD by Doug Scott WILDERNESS RESEARCH INSTITUTE REVIEW BY JOHN SHULTIS, IJW BOOK EDITOR 19 The Fire Effects Planning Framework BY ANNE BLACK 46 Wildland Recreation Policy: An Introduction, 2nd ed. by J. Douglas Wellman and Dennis B. Propst REVIEW BY CHAD DAWSON EDUCATION AND COMMUNICATION 21 Wilderness Education 46 Wildlife Tourism: Impacts, Management The Ultimate Commitment to Quality and Planning Wilderness Stewardship edited by Karen Higginbottom BY GREG HANSEN and TOM CARLSON REVIEW BY SARAH ELMELIGI INTERNATIONAL PERSPECTIVES 26 Conservation Planning in the Tropics FRONT COVER A photographer’s dream day at Mount McKinley, Lessons Learned from the Denali National Park, Alaska. Photo by Cathy Hart. Guianan Ecoregion Complex INSET Cristina Mittermeier looking a dung beetle in the eye, BY G. JAN SCHIPPER Tembe Elephant Reserve, KwaZulu Natal, South Africa. -
Single-Pixel Imaging Via Compressive Sampling
© DIGITAL VISION Single-Pixel Imaging via Compressive Sampling [Building simpler, smaller, and less-expensive digital cameras] Marco F. Duarte, umans are visual animals, and imaging sensors that extend our reach— [ cameras—have improved dramatically in recent times thanks to the intro- Mark A. Davenport, duction of CCD and CMOS digital technology. Consumer digital cameras in Dharmpal Takhar, the megapixel range are now ubiquitous thanks to the happy coincidence that the semiconductor material of choice for large-scale electronics inte- Jason N. Laska, Ting Sun, Hgration (silicon) also happens to readily convert photons at visual wavelengths into elec- Kevin F. Kelly, and trons. On the contrary, imaging at wavelengths where silicon is blind is considerably Richard G. Baraniuk more complicated, bulky, and expensive. Thus, for comparable resolution, a US$500 digi- ] tal camera for the visible becomes a US$50,000 camera for the infrared. In this article, we present a new approach to building simpler, smaller, and cheaper digital cameras that can operate efficiently across a much broader spectral range than conventional silicon-based cameras. Our approach fuses a new camera architecture Digital Object Identifier 10.1109/MSP.2007.914730 1053-5888/08/$25.00©2008IEEE IEEE SIGNAL PROCESSING MAGAZINE [83] MARCH 2008 based on a digital micromirror device (DMD—see “Spatial Light Our “single-pixel” CS camera architecture is basically an Modulators”) with the new mathematical theory and algorithms optical computer (comprising a DMD, two lenses, a single pho- of compressive sampling (CS—see “CS in a Nutshell”). ton detector, and an analog-to-digital (A/D) converter) that com- CS combines sampling and compression into a single non- putes random linear measurements of the scene under view. -
Boudoir & Fine Art Photography: the Intersection of Fun & Seduction
Boudoir & Fine Art Photography: The Intersection of Fun & Seduction A Guide for First Time Clients and Veteran Boudies Monumental Arts Professional Fine Art Photography Boudoir & Fine Art Photography: Introduction So you are thinking about a Boudoir & Fine Art photography session – how exciting! But what is a boudoir & Fine Art session? Sounds simple – it’s just a sexy portrait session, right? Yes, no, and maybe, all at once! Boudoir is a unique and intimate style of photography – and whether you're looking for a romantic, glamour, pin-up, or fantasy session, it takes a big step to jump right in. Boudoir photography is a broad genre of photography that involves female subjects in sensual and suggestive poses. It is distinct from erotic photography in its emphasis on the aesthetic qualities of the subject and the craftsmanship of the photographic process over the sexually stimulating nature of the image. So, whether you are a veteran in front of the camera or brand new to the role, there are some things you should know about Boudoir & Fine Art photography. Tasteful, Private, and Confidential Sessions One of the top questions I’m asked regarding boudoir is “will these be online”? I have photographed over 300 boudoir sessions since I started in 2012 – most are completely private and are never seen online. In other words, if you don’t want your images shown on my website as examples, they never will be! I guarantee “Tasteful, Private, and Confidential Sessions!” Boudoir & Fine Art Styles Boudoir: Boudoir, as mentioned above, typically involves female subjects in sensual and suggestive poses. -
A Photography of Belonging
Dominican Scholar Collected Faculty and Staff Scholarship Faculty and Staff Scholarship 2014 Gelang: A Photography of Belonging Chase Clow Department of Humanities and Cultural Studies, Dominican University of California, [email protected] Survey: Let us know how this paper benefits you. Recommended Citation Clow, Chase, "Gelang: A Photography of Belonging" (2014). Collected Faculty and Staff Scholarship. 125. https://scholar.dominican.edu/all-faculty/125 This Dissertation is brought to you for free and open access by the Faculty and Staff Scholarship at Dominican Scholar. It has been accepted for inclusion in Collected Faculty and Staff Scholarship by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. GELANG: A PHOTOGRAPHY OF BELONGING by Chase M. Clow A Dissertation Submitted to the Faculty of California Institute of Integral Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Transformative Studies California Institute of Integral Studies San Francisco, CA 2014 UMI Number: 3680156 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3680156 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. -
Erotic and Physique Studios Photography Collection, Circa 1930-2005 Coll2014-051
http://oac.cdlib.org/findaid/ark:/13030/c8br8z8d No online items Finding aid to the erotic and physique studios photography collection, circa 1930-2005 Coll2014-051 Michael C. Oliveira ONE National Gay & Lesbian Archives, USC Libraries, University of Southern California © 2017 909 West Adams Boulevard Los Angeles, California 90007 [email protected] URL: http://one.usc.edu Coll2014-051 1 Language of Material: English Contributing Institution: ONE National Gay & Lesbian Archives, USC Libraries, University of Southern California Title: Erotic and physique studios photography collection creator: ONE National Gay & Lesbian Archives Identifier/Call Number: Coll2014-051 Physical Description: 30 Linear Feet37 boxes. Date (inclusive): circa 1930-2005 Abstract: Photographs produced from the 1930s through 2010 by gay erotic or physique photography studios. The studios named in this collection range from short-lived single person operations to larger corporations. Arrangement This collection is divided into two series: (1) Photographic prints and (2) Negatives and slides. Both series are arranged alphabetically. Conditions Governing Access The collection is open to researchers. There are no access restrictions. Conditions Governing Use All requests for permission to publish or quote from manuscripts must be submitted in writing to the ONE Archivist. Permission for publication is given on behalf of ONE National Gay and Lesbian Archives at USC Libraries as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained. Immediate Source of Acquisition This collection comprises photographs garnered from numerous donations to ONE Archives, many of which are unknown or anonymous. Dan Luckenbill, Neil Edwards, Harold Dittmer, and Dan Raymon are among some of the known donors of photographs in this collection. -
72+ FREE Stock Photo Graphics Sites to Enhance Your Online Content
72+ FREE Stock Photo Graphics Sites to Enhance Your Online Content Heidi Richards Mooney Resource of the Day 72+ FREE Stock Photo Graphics Sites - Redhead Marketing Inc. Social Marketing. No Pain. All Gain. Providing Simple, Results-driven Social Media Marketing, Training and Consulting Its that time again! Time to update the list of FREE Stock Photos. The previous list had 61 photo sites (some of whom are no longer around). This one has a list of 72 FREE STOCK PHOTO SITES that are active as of this publishing date. If you have trouble looking for photos to share, photos online -quality photos that are easily accessed (and mostly free), this list of 72 FREE photo/texture/clipart and webpage header graphics sites is a great resource. If you write a blog, write articles or are putting together a book/ebook that needs images to “dress it up,” these 72 FREE/Creative Commons stock photo sites are worth checking out. All of the sites listed offer images for use for free (be sure and check the terms of use for each site). Many of them also offer photos for a fee (they are often referred to as Royalty Free which means that you don’t need to pay the photographer a royalty each time you use the image. Each of these sites are worth exploring. Be sure to read the “terms of use” before using any of the photos or graphics for commercial use. Resource of the Day 72+ FREE Stock Photo Graphics Sites - Redhead Marketing Inc. 72+ FREE Stock Photo Graphics Sites to Enhance Your Online Content Resource of the Day 72+ FREE Stock Photo Graphics Sites - Redhead Marketing Inc. -
Wildlife Photography on Private Lands a Market Study
E-467 03-08 Wildlife Photography on Private Lands A Market Study Miles Phillips, Assistant Professor and Extension Specialist, Texas AgriLife Extension Service, The Texas A&M System Photos by Miles Phillips According to the U.S. Fish and Wildlife Service’s 2006 National Survey of Fishing, Hunting, and Wildlife-Associated Recreation, 11.7 million people in the United States travel for the purpose of photographing wildlife. In 2007, members of the North American Nature Photography Association (NANPA) and a small number of individual photographers who had paid a fee to photograph wildlife on private lands in Texas were asked to complete an online survey about their experiences. Eleven landowners who offered fee-based wildlife photography on their land completed a related survey. The survey results show that private landowners can provide a highly satisfying experience for wildlife photographers. This study also indicates that the current market for fee-based wildlife photography is not well devel- oped and depends on a mix of key species, site amenities, and marketing efforts. Regional and seasonal desirability is influenced by general scenery and climate as well as by wildlife. The study indicates that, although interest is growing, most people are not aware of the benefits of fee-based wildlife photography opportunities on private lands, and so the level of demand is still largely unknown. Some landowners have begun to profit from this enterprise, but others have not yet made the profit they need to continue their operations. This pilot study was intended as a starting point for learning whether fee-based photography has potential as a way for agricultural operators to diversify their income while conserving wildlife. -
One Is Enough. a Photograph Taken by the “Single-Pixel Camera” Built by Richard Baraniuk and Kevin Kelly of Rice University
One is Enough. A photograph taken by the “single-pixel camera” built by Richard Baraniuk and Kevin Kelly of Rice University. (a) A photograph of a soccer ball, taken by a conventional digital camera at 64 64 resolution. (b) The same soccer ball, photographed by a single-pixel camera. The image is de- rived× mathematically from 1600 separate, randomly selected measurements, using a method called compressed sensing. (Photos courtesy of R. G. Baraniuk, Compressive Sensing [Lecture Notes], Signal Processing Magazine, July 2007. c 2007 IEEE.) 114 What’s Happening in the Mathematical Sciences Compressed Sensing Makes Every Pixel Count rash and computer files have one thing in common: compactisbeautiful.Butifyou’veevershoppedforadigi- Ttal camera, you might have noticed that camera manufac- turers haven’t gotten the message. A few years ago, electronic stores were full of 1- or 2-megapixel cameras. Then along came cameras with 3-megapixel chips, 10 megapixels, and even 60 megapixels. Unfortunately, these multi-megapixel cameras create enor- mous computer files. So the first thing most people do, if they plan to send a photo by e-mail or post it on the Web, is to com- pact it to a more manageable size. Usually it is impossible to discern the difference between the compressed photo and the original with the naked eye (see Figure 1, next page). Thus, a strange dynamic has evolved, in which camera engineers cram more and more data onto a chip, while software engineers de- Emmanuel Candes. (Photo cour- sign cleverer and cleverer ways to get rid of it. tesy of Emmanuel Candes.) In 2004, mathematicians discovered a way to bring this “armsrace”to a halt.