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Photojournalism Photojournalism
Photojournalism For this section, we'll be looking at photojournalism's impact on shaping people's opinions of the news & world events. Photojournalism From Wikipedia, the free encyclopedia Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Timeliness The images have meaning in the context of a recently published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences. Like a writer, a photojournalist is a reporter, but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (e.g., physical danger, weather, crowds, physical access). -
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. -
Getty Images Premium Access
GETTY IMAGES’ PREMIUM ACCESS CONTENT COLLECTIONS LIST (Effective September 21, 2017) STILLS COLLECTIONS RM – House RM – Partner Allsport Concepts ABSODELS Archive Photos ACP Bettmann AFP Creative Corbis All Canada Photos Corbis Documentary Altrendo Corbis Historical amana images Fototrove America 24-7 Hulton Archive arabianEYE Moment Arcaid Images Oxford Scientific Art Images Photographer's Choice RM Asia Images Photolibrary Aurora Retrofile RM AWL Images Stone Axiom Photographic Agency Taxi Biosphoto Taxi Japan Blend Images The Image Bank Bloomberg Creative Photos Canopy Car Culture ® Collection CGIBackgrounds China Span Collection Mix: Subjects Conde Nast Collection Cultura Exclusive DAJ De Agostini Picture Library Discovery Channel Images Dorling Kindersley EyeEM F1online First Light Folio Images Gallo Images Glow hemis.fr Historic Map Works Hola Images Ikon Images Illustration Works ImageBROKER Images Bazaar Imagezoo ImaZinS Johner Images LatinContent Lonely Planet Images LOOK Mayo Clinic Collection Mint Images Nativestock Nature Picture Library Neo Vision Nordic Photos NYonAir Panoramic Images Passage Perspectives Photononstop Picture Press Publisher Mix Refinery29 Riser robertharding RooM SambaPhoto Science Photo Library Sebun Photo Stock4B StockFood Creative SuperStock Topic Images Universal Images Group Untitled X-Ray UpperCut Images View Stock VisitBritain WaterFrame Westend 61 WIN-Initiative Yann Arthus-Bertrand RF – House RF – Partner Corbis ABSODELS Corbis Unreleased Alloy DigitalVision amana images DigitalVision Vectors arabianEYE -
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. -
How to Use Eye-Catching Images Without Paying A
HOW TO USE EYE-CATCHING IMAGES WITHOUT PAYING A FORTUNE OR A LAWYER HELEN SEDWICK AND JESSICA BROWN TEN GALLON PRESS Copyright © 2014 by Helen Sedwick and Jessica Brown www.helensedwick.com www.tengallonpress.com All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without the written permission of the publisher, except where permitted by law. This guide should not be used as a substitute for the advice of competent legal counsel from an attorney admitted or authorized to practice in your jurisdiction. You should never delay seeking legal advice, disregard legal advice, or commence or discontinue any legal action because of information in this guide. Ten Gallon Press Santa Rosa, CA Images Are Important It’s a visual world. Words alone, no matter how insightful, will not draw readers to your blog or books. You will need eye-catching images for your covers, website, social media banners, bookmarks, and book videos. Images communicate tone and pull in readers long before they discover your prose. If you are a speaker or educator, the right image illustrates your points, evokes emotions, and perks up your audience. Finding images is easy. Search the internet and voila, thousands of choices. Finding images has become so easy, many people forget those images result from someone’s hard work and are protected by copyright. Some people still think anything posted on the internet is free to use. Not true. Images, like texts and music, are intellectual property. -
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. -
Image Manipulation
IMAGE MANIPULATION Photo manipulation (i.e.: changing the content of a photograph) is a very serious issue in the editorial photo industry. Acceptable Changes Cropping. Minor color adjustments. Limited lightening or darkening. Limited sharpening. The removal of dust resulting in a dirty lens or sensor. Converting a color image to black & white. Creating a true silhouette effect from an image. Removal of Red Eye (caused by Flash Photography) as long as it does not affect the context of the photography. Unacceptable Changes Any other changes not included in the preceding list of Acceptable Changes, including but not limited to the following: Adding or removing objects or information that weren’t in the photograph to begin with. Extreme color, lightening and darkening adjustments using Photoshop or any other computer software ( i.e., making a gray sky blue, a blue sky orange or a gray subject black. Changing the editorial content of any image is unacceptable. On-camera filters The use of on-camera filters (including Polarizing, graduated, star burst or special effects filter) is acceptable. However, any photographs created by using these filters MUST include the following line at the front of the caption field and special instructions field: Caption example: NASHVILLE , TN - APRIL 09: (EDITOR'S NOTE A special effects camera filter was used for this image): Joe Rightwing #21 of the Nashville Predators skates during warm ups on April 9, 2014 in Nashville, Tennessee. (Photo by Joe Photo/Getty Images) It is the responsibility of the individual Photographer who has taken a photo with a filter to make sure that this Editor Note is clearly written in the main body of the caption on each photo before it is transmitted to the Picture Desk. -
Highsmith V. Getty Images
Case 1:16-cv-05924-JSR Document 1 Filed 07/25/16 Page 1 of 38 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK ____________________________________ : CAROL M. HIGHSMITH, : : Plaintiff, : : v. : 16 CIV. 5924 : GETTY IMAGES (US), INC., : LICENSE COMPLIANCE SERVICES, : JURY TRIAL DEMANDED INC., : PICSCOUT, INC., : ALAMY, INC., : ALAMY, LTD., and : JOHN DOES 1 TO 100, : : Defendants. : ____________________________________: COMPLAINT Plaintiff Carol M. Highsmith (the “Plaintiff” or “Ms. Highsmith”), by and through her counsel the GIOCONDA LAW GROUP PLLC and CARSTENS & CAHOON, LLP hereby brings this Complaint against Defendants Getty Images (US), Inc. (“Getty”), License Compliance Services, Inc. (“LCS”), Picscout, Inc. (“Picscout”), Alamy, Inc., Alamy, Ltd. (collectively, “Alamy”), and John Does 1 to 100 (Getty, LCS, Picscout, Alamy and John Does 1-100, collectively, the “Defendants”), and respectfully alleges as follows upon information and belief, except for allegations regarding the Plaintiff or her counsel: NATURE OF CASE 1. This is a copyright lawsuit brought by distinguished American photographer Carol M. Highsmith under the Digital Millennium Copyright Act (“DMCA”), 17 U.S.C. §§ 1202(a), 1202(b) and 1203, based upon the Defendants’ gross misuse of Ms. Highsmith’s photographs – more than 18,000 of them. PLAINTIFF’S ORIGINAL COMPLAINT PAGE 1 OF 38 Case 1:16-cv-05924-JSR Document 1 Filed 07/25/16 Page 2 of 38 2. In December 2015, Ms. Highsmith received a letter addressed to her nonprofit organization from the Defendants accusing her of copyright infringement and demanding payment for displaying one of her own photographs on her own website. See attached Exhibit A. 3. -
Getty Images North America Premium Access Standard Terms and Conditions
GETTY IMAGES PREMIUM ACCESS STANDARD TERMS AND CONDITIONS 1. Definitions. In this Agreement the following definitions apply: 1.1 “Download Cap” means the maximum number of items of Licensed Material that can be downloaded by Licensee and/or Users, as specified in the Commercial Terms. 1.2 “Editorial Licensed Material” means any and all RM Editorial Licensed Material and RF Editorial Licensed Material. 1.3 “Fees” means the license fees paid by Licensee to Getty Images in consideration of the license rights granted under this Agreement, as specified in the Commercial Terms. 1.4 “Getty Images Website” means the Getty Images website where Licensed Material will be made available to Licensee, located at http://www.gettyimages.com or any successor URL. 1.5 "Licensed Material" means Stills/Video Licensed Material and Music Licensed Material, as specified in the Commercial Terms. Any reference in this Agreement to Licensed Material shall be to each individual item of Licensed Material and also to Licensed Material in the aggregate. 1.6 "Licensee Work" means an end product, production, program or service that has been created by or on behalf of Licensee using independent skill and effort and that incorporates a Reproduction of Stills/Video Licensed Material and/or Music Licensed Material that has been Synchronized (as defined in Section 11.1), as well as other material. 1.7 “Licensee’s Website(s)” means the website(s) owned or operated by Licensee, as specified in the Commercial Terms. 1.8 “Music Licensed Material” means sound recordings (the “Masters”) and musical compositions, including lyrics, embodied on the Masters (the “Compositions”) from the Music collections specified in the Commercial Terms that are licensed to Licensee by Getty Images under the terms of this Agreement, including without limitation Section 11. -
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. -
Photography Policies 2021 Division I Men’S Basketball Championship
PHOTOGRAPHY POLICIES 2021 DIVISION I MEN’S BASKETBALL CHAMPIONSHIP NCAA Photos, Getty and Team Photographers will be the only photographers approved to work in or around the COVID-19 Tested Zone (CTZ) at any tournament site. They will be identified by an arm band provided by the media coordinator. On gamedays, these individuals will be assigned a predetermined location close to the floor at each end of the court by the media coordinator (no more than 4 spots on one end) and movement will be restricted to the work area and photographers’ boxes at all times when student-athletes are present in the venue. The only other photographers that will be granted access to the venue will be USA Today, Associated Press and the Indianapolis Star. These entities will be restricted to two credentials per venue and be limited to the upper photography areas. NCAA Photos will make a select number of Courtesy Handout Images available to participating member institutions and media members that would have traditionally had access to the venue. Except with the prior written approval of the NCAA, no photographer, news entity, media agency of other individual or entity receiving a credential may distribute, license or sell photos of the Division I Men’s Basketball Championship. Photo couriers and technicians shall not photograph game action. NCAA Photos and Getty will be the only organizations permitted to have couriers and their movement will be limited based on venue protocols (ex – drop area for cards). These individuals are required to display a credential at all times when tending to remote cameras and other technical digital photo equipment.