An Intro to Online Stock Photography
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Film Camera That Is Recommended by Photographers
Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to. -
ABC: Enabling Smartphone Authentication with Built-In Camera
ABC: Enabling Smartphone Authentication with Built-in Camera Zhongjie Ba↑∗ , Sixu Piao↑∗ , Xinwen Fu↑� , Dimitrios Koutsonikolas↑∗ , Aziz Mohaisen↑� and Kui Ren↑∗ ∗ � 1 Camera Identification: Hardware Distortion • Manufacturing imperfection leads to pattern noise: Photo Response Non-Uniformity (PRNU)[1] Non-Uniform Pixel Unique Fingerprint! 2 [1] LUKAS, J., FRIDRICH, J., AND GOLJAN, M. Digital camera identifi- cation from sensor pattern noise. IEEE Transactions on Information Forensics and Security 1, 2 (2006), 205–214. Camera Identification: Fingerprint Matching • Given an image, determine if it is captured by a camera of interest Threshold Filter Similarity Query image Noise Residue Compare (PCE) Extract The final identification accuracy is mainly determined by the quality of each fingerprint (target & reference). Reference Fingerprint Training images 3 Image source: https://www.packtpub.com/networking-and-servers/mastering-python-forensics; From Camera Identification to Smartphone Identification • Smartphone cameras have • Smartphones are widely displaced the conventional used in security sensitive digital camera tasks 4 Image source: https://techdigg.com/2017/05/12/apple-wants-you-to-be-a-professional-iphone-7-photographer/; https://www.nextpowerup.com/news/28115/google-brings-android-pay-to-uk/ Smartphone Camera VS Digital Camera 5 https://lensvid.com/technique/why-depth-of-field-is-not-effected-by-sensor-size-a-demonstration/ Smartphone Camera: Stronger Non-Uniformity • The reduction in dimension amplifies the pixels’ non-uniformity Same level of manufacturing imperfection Stronger non-uniformity 6 Smartphone Camera: Higher Identification Accuracy • One image alone can uniquely identify a smartphone camera 30 iPhone 6 and 16,000 images collected from 10 Galaxy Note 5 Amazon Mechanical Turk 7 Smartphone Authentication Scenario • The user proves her identity to the verifier using her smartphone as a security token • The verifier authenticates the user’s smartphone by checking the fingerprint of its built-in camera 1. -
Graphic Standards.Indd
COLORADO SBDC NETWORK GRAPHIC STANDARDS CONTENTS Logo . 2 Color Palette . 3 Fonts . 4 Fact Sheets . 5 LOGO The Colorado Small Business Development Center (SBDC) logo is comprised of four colors and visual references to both the Colorado state fl ag and mountainous topography. LOGO USAGE Size The minimum size of the SBDC logo is 3/4” in width. Please do not reproduce logo in a size smaller than 3/4” as legibility issues can arise. Area of Isolation In order to maintain the logos clarity and integrity, an area of isolation around the logo is necessary. The minimum “clear space” around the logo should be 1/4”. This area should be kept free of graphics and text. LOGO Correct Usage of Logo The full-color SBDC logo is the preferred option and should be used for all materials whenever pos- sible. No other colors than those shown here should be used. Full color on white Gray scale on white Incorrect Usage of Logo Never alter the logo in any way; do not change its colors, fonts, and/or orientation. Do not stretch or distort it. Poor quality or pixilated versions of the logo are unacceptable. Always use EPS/PSD fi les whenever possible to ensure highest quality. Do not distort or stretch Do not place on colored Do not place on photo- background graphic background Do not obscure with graphical elements COLOR PALETTE Primary Color Palette PANTONE 188 PANTONE 288 PANTONE 130 PANTONE 7543 CMYK: 0, 97, 100 50 CMYK: 100,67,0,23 CMYK: 0,30,100,0 CMYK: 7,0,0,30 RGB: 124.33.40 RGB: 0,51,127 RGB: 234,175,15 RGB: 168,173,176 WEBSAFE: #7C2128 WEBSAFE: #00337F WEBSAFE: #EAAFOF WEBSAFE: #A6B3B3 Secondary Color Palette In addition to the current color palette occurring on all SBDC collateral, a secondary palette can be implemented. -
Contents Page
‘An evaluation of Flickr’s distributed classification system, from the perspective of its members, and as an image retrieval tool in comparison with a controlled vocabulary’ A dissertation submitted for an MA in: Information Services Management London Metropolitan University September 2008 By Samuel Piker Abstract The profusion of digital images made available online presents a new challenge for image indexing. Images have always been problematic to describe and catalogue due to lack of inherent textual data and ambiguity of meaning. Because professionally- applied metadata is not practical for most open, web-based collections a solution has been sought in the form of tags, simple keywords that can be attached to an image by any web user. Together tags form a flat structure known as distributed classification, or more popularly as a folksonomy. This research follows the debate surrounding folksonomies and aims to fill the gaps in understanding of why people tag and how effective they find them for searching, using the photo-sharing website Flickr as the focus. Open-ended questionnaires were sent out to members of the site who use tags, with the opportunity to post comments to an online discussion space. The other key gap identified in the literature is a systematic comparison between a tag-based system and a more traditional controlled vocabulary, to test out the claims made regarding tagging’s suitability for searching and browsing. For this purpose Flickr has been compared with Getty Images using a series of test themes. The small number of people who replied to the questionnaire gave detailed answers that confirmed several of the assertions made about tags: they are accepted despite their flaws (sloppiness and potential for inaccuracy) because they serve their purpose to a satisfactory level. -
Future E-Waste Scenarios
FUTURE E-WASTE SCENARIOS Keshav Parajuly, Ruediger Kuehr, Abhishek Kumar Awasthi, Colin Fitzpatrick, Josh Lepawsky, Elisabeth Smith, Rolf Widmer, Xianlai Zeng FUTURE E-WASTE SCENARIOS AUTHORS This paper is published by the StEP Initiative, UNU ViE-SCYCLE, and UNEP IETC. Keshav Parajuly (United Nations University ViE-SCYCLE, Germany and University of Limerick, Ireland) THE STEP INITIATIVE The Solving the E-waste Problem (StEP) Initiative is a network of e-waste experts and Ruediger Kuehr (United Nations University ViE-SCYCLE, Germany) a multi-stakeholder platform for designing strategies that address all dimensions of electronics in an increasingly digitized world. The independent Initiative applies an Abhishek Kumar Awasthi (Tsinghua University, China) integrated and science-rooted approach to create salient solutions to global e-waste challenges throughout the entire lifecycle of electronics. Colin Fitzpatrick (University of Limerick, Ireland) UNU ViE-SCYCLE Josh Lepawsky (Memorial University, Canada) The Sustainable Cycles (SCYCLE) Programme is hosted by the United Nations University Vice Rectorate (UNU ViE) in Europe in Bonn, Germany. SCYCLE’s mission is Elisabeth Smith (Solving the E-waste Problem Initiative) to promote sustainable societies, and focuses its activities on the development of sustainable production, consumption, and disposal patterns for electrical and Rolf Widmer (Swiss Federal Laboratories for Materials Science and Technology, electronic equipment (EEE), as well as for other ubiquitous goods. SCYCLE leads the Switzerland) global e-waste discussion and advances sustainable e-waste management strategies based on life-cycle thinking. Xianlai Zeng (Tsinghua University, China) UNEP IETC Please cite this document as: Future E-waste Scenarios; Parajuly, K.; Kuehr, R.; The International Environmental Technology Centre (IETC) is a branch of the United Awasthi, A. -
These Works Reflect on the Stock Photography Company Getty's Dominance in the Market, Capitalization, and Control of Images On
PRESS RELEASE Berlin, September 10, 2019. Property Artwork by Paolo Cirio. These works reflect on the stock photography company Getty’s dominance in the market, capitalization, and control of images on the Internet. The series adopts the semantics of appropriation art through transforming images into compositions of colored shapes and texts, which overlay with the prints of the original photos appropriated from Getty’s websites. Property examines images as a form of capital accumulation, bound by intellectual property laws, trade agreements, legal contracts, and litigations. Getty aggregates images from public archives, agencies, and photographers; then it repackages them with legal terms to exclusively license and sell millions of photos. Images become an asset and a revenue stream, with Getty Inc becoming a monopoly and a gatekeeper of photos (see gettyimages.com, photos.com, images.com, etc). To dominate the economy of images at a time in which the Internet allows easy reproduction and sharing, Getty Images Inc aggressively controls and polices the use of photos through extensive legal threats and litigations. While limiting access, Getty Images Inc, acquires archives and collections by any means and strikes agreements with search engines and publishers to lure viewers to their sites. These often deceptive and aggressive business practices are necessary for Getty to gain control over the market of photos. With the series Property, White House, Cirio found historical photographs of U.S. presidents in the public domain that Getty Images Inc. licenses and sells on their platform. This series questions the use, trading, and ownership of photo archives through utilizing direct evidence of Getty’s deceptive marketing of public domain images. -
Digital Photography Module 3
DODEA Virtual High School (DVHS): Vision To prepare our students to live, learn, work, and serve the public good in a digital, global society through engaging, syn- chronous and asynchronous instruction. Combination Image, see Image Credits (p.23) Digital Module 3 Photography Thom_Morris, iStockphoto/Thinkstock [background] Digital Photography Module 3: People, Places, and Things Overview Photographs tell stories of people, places, and things. A photographer relies on the sub- ject and details to help construct the narrative. In order to communicate ideas and grab the attention of the viewer, a photographer selects the context in which the story is told. All of these decisions impact the final photograph as each supporting detail is re- vealing another part of the story. For as long as photography has been an art form, photographers have chosen to shoot portraits and landscapes. Early portrait photographers led the way by experimenting with different points of inspiration and contemporary photographers continue to inspire with new technologies and perspectives. Capturing the changing world around us, landscape photography has continued to showcase the natural wonders of the world. Throughout history and today, the process of photography reflects each photographer’s commitment to explore subject matter in a series, often returning to the same subjects throughout their life—to tell yet another story. Table of Contents Lesson 1 - The Subject and Context Lesson 2 - Portraits in Photography Lesson 3 - Studying Landscapes Scuddy Waggoner, iStockphoto/Thinkstock Waggoner, Scuddy Digital Photography Module 3: People, Places, and Things DoDEA Standards VA1d: The student uses art materials and tools, including technology, in a safe and responsible manner. -
The Stock Photography As a Part of Cultural and Creative Industries of the Digital Age
THE STOCK PHOTOGRAPHY AS A PART OF CULTURAL AND CREATIVE INDUSTRIES OF THE DIGITAL AGE Zorislav KALAZIĆ , M.Sc. Ph.D.Student, Faculty of Economics in Osijek, Croatia [email protected] Jasna HORVAT , Ph.D. Faculty of Economics in Osijek, Croatia [email protected] Josipa MIJOČ , Ph.D. Faculty of Economics in Osijek, Croatia [email protected] Abstract Photography of the digital age has lost the properties of a physically tangible product and has become intellectual property. Simultaneously with this process, the process of transition of photography into a mass-produced good has taken place. Market demands towards photography as a product of mass consumption often reduce the aesthetic and artistic standards that have been set by its develop- ment period in the process of photography coming to life as a medium. Despite the negative eff ects that accompany the transition of photography in its process of transformation into a mass-produced good, even such photographic “products” are able to encourage to a particular activity and ultimately generate revenue for numerous industries standing in the background of the “photography-product”. Production and distribution of stock photographs 1 is one of the derivates of the 1 Stock photography derives from the word „stock“ and implies the sale/rent of an already existing pho- tograph, which was not taken according to the customer’s order. On the other hand, the use of stock INTERDISCIPLINARY MANAGEMENT RESEARCH XI 189 digital age in which business in the domain of production of photographs is ex- panded to their distribution to users of websites and/or digital communication channels. -
Getting Started in Stock Photography
A Quick Guide To Getting Started In Stock Photography A Special Report By From Matt Brading CEO/Founder OzImages International Pty Ltd Stock Library & Freelance Photographer Search This is a free ebook! You are encouraged to give it away or sell it in any way you see fit but you may not change any of the contents in any way. This ebook is copyright protected. The ebook is Copyright © Matt Brading. This ebook is supplied for information purposes only and the material herein does not constitute professional advice. This ebook is designed to provide accurate and authoritative information with regard to the subject matter covered. It is distributed with the understanding that the publisher and the contributors are not engaged in rendering legal, accounting, or other professional advice. If legal advice or other professional assistance is required, the services of a competent professional should be sought. The reader is advised to consult with an appropriately qualified professional before making any business decision. Matt Brading and any additional contributors do not accept any responsibility for any liabilities resulting from the business decisions made by purchasers of this book. *EARNINGS DISCLAIMER: Results are not typical. Your results may vary. We make no claim whatsoever that you will earn any income using this ebook or any strategies or techniques outlined within. Where specific figures are quoted from individuals, they are simply examples of what is possible and there is no assurance you will do as well. Introduction: Thanks for downloading this report. I'll keep it short-and-sweet because all the best photographers I've encountered over the years are always extremely busy and they just aren't interested in 'fluff' . -
Digital Photography II (Elective)
Course Scope & Sequence TCH032: Digital Photography II (Elective) Course Overview | Course Length | Materials | Prerequisites | Course Outline COURSE OVERVIEW In today’s world, photographs are all around us, including in advertisements, on websites, and on the wall as art. Many of the images have been created by professional photographers. In this course, students learn about various aspects of professional photography, including the ethics of the profession, and examine some of the areas that professional photographers may choose to specialize in, such as wedding photography and product photography. Students also learn about some of the most respected professional photographers in history and how to critique photographs to better understand what creates an eye-catching photograph. COURSE LENGTH One semester MATERIALS Digital camera (not supplied) A cell phone camera will not fulfill the requirement for this course. NOTE: List subject to change PREREQUISITES None COURSE OUTLINE Unit 1: Photography as a Career Unit 2: Legal and Ethical Concerns Unit 3: Photographers and Critiques Unit 4: Photography Software Digital Photography II Midterm Exam Unit 5: The Darkroom Unit 6: Art, Product, and Stock Photography Unit 7: Photojournalism Unit 8: Wedding Photography Page 1 of 2 © 2014 K12 Inc. All rights reserved. K¹² is a registered trademark of K12 Inc. The K¹² logo and other marks referenced herein are trademarks of K12 Inc. and its subsidiaries, and other marks are owned by third parties. Course Scope & Sequence Digital Photography II Final Exam COURSE OBJECTIVES Discuss professional photography and what this career is like. Discuss the different types of professional photography. Examine some of the steps to becoming a professional photographer. -
Digital Photography Module 2
DODEA Virtual High School (DVHS): Vision To prepare our students to live, learn, work, and serve the public good in a digital, global society through engaging, syn- chronous and asynchronous instruction. Combination Image, see Image Credits (p.27) Digital Module 2 Photography Thom_Morris, iStockphoto/Thinkstock [background] Digital Photography Module 2: Learning the Language Overview Photography is an art form with a unique language. In order to fully understand what you are seeing and capturing in images you must learn this language. The lessons in this module aim to introduce you to the elements of art and design that influence pho- tographic composition. Additionally there are lessons which provide valuable infor- mation regarding digital exposure, how lenses work and how to handle your camera. Consider this module basic photography boot camp. At the end of this module there is a field assignment where you will have the opportunity to demonstrate your under- standing and showcase your new skills. Table of Contents Lesson 1 - Photographic Attributes Lesson 2 - Composition Lesson 3 - How Lenses Work Lesson 4 - Handling the Camera Lesson 5 - Digital Exposure Marcel Ter bekke, Thinkstock bekke, Ter Marcel Scuddy Waggoner, iStockphoto/Thinkstock iStockphoto/Thinkstock Waggoner, Scuddy Digital Photography Module 2: Learning the Language DoDEA Standards VA1c: The student evaluates the characteristics of traditional media, technolog- ical tools, techniques, and processes in the process of making art. VA1d: The student uses art materials and tools, including technology, in a safe and responsible manner. VA2b: The student analyzes and explains how elements of art and principles of design clarify an artwork’s role and purpose. -
2016 Annual Report Vision
“Perimeter Institute is now one of the world’s leading centres in theoretical physics, if not the leading centre.” – Stephen Hawking, Emeritus Lucasian Professor, University of Cambridge 2016 ANNUAL REPORT VISION To create the world's foremostcentre for foundational theoretlcal physics, uniting publlc and private partners, and the world's best scientific minds, in a shared enterprise to achieve breakthroughs that will transform ourfuture CONTENTS Welcome . .2 Message from the Board Chair . 4 Message from the Institute Director . 6 Research . .8 At the Quantum Frontier . 10 Exploring Exotic Matter . .12 A New Window to the Cosmos . .14 A Holographic Revolution . .16 Honours, Awards, and Major Grants . .18 Recruitment . 20 Research Training . .24 Research Events . 26 Linkages . 28 Educational Outreach and Public Engagement . 30 Advancing Perimeter’s Mission . .36 Blazing New Paths . 38 Thanks to Our Supporters . .40 Governance . 42 Facility . 46 Financials . .48 Looking Ahead: Priorities and Objectives for the Future . 53 Appendices . 54 This report covers the activities and finances of Perimeter Institute for Theoretical Physics from August 1, 2015, to July 31, 2016 . Photo credits The Royal Society: Page 5 Istock by Getty Images: 11, 13, 17, 18 Adobe Stock: 23, 28 NASA: 14, 36 WELCOME Just one breakthrough in theoretical physics can change the world. Perimeter Institute is an independent research centre located in Waterloo, Ontario, Canada, which was created to accelerate breakthroughs in our understanding of the cosmos. Here, scientists seek to discover how the universe works at all scales – from the smallest particle to the entire cosmos. Their ideas are unveiling our remote past and enabling the technologies that will shape our future.