Provider: - Institution: - Data provided by Europeana Collections- Fantje Branko Petkovič, Jože Mihelčič – Juš in Franci Gornik so leta 1962 obiskovali foto krožek. Fotografija je nastala 16. 3. 1962 ...na Veselici (najvišji hrib in razgledna točka Metlike, 233 m).Fotografijo je prispeval Jože Mihelčič – Juš.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Disertacija „Fotografija kao dokaz“ zadire u skepticizme i relativizme koje uvode teorije
medija po pitanju statusa dokazivosti ...digitalne fotografije, dokazujući; kako je isti ili sličan
materijal, a koji nije imao kapacitet dokazivosti, postojao i prethodno, u analognoj fotografiji,
te kako stoga nije došlo do supstancijalne ili revolucionarne promjene. Ona analizira
sklopove misli nazvane diskursima realizma, locirajući tri dominantna realistička sustava u
koja se pojavljuju simultano izumu fotografije; pragmatičkog, pozitivističkog, te povijesnog
realizma. Svi oni redom definiraju i/ili koriste fotografiju u svrhe dokaza. Te teorije
dislociraju diskusiju o fotografiji u različita područja misli; prirodnih znanosti, humanističkih
pa i društvenih disciplina. One tvrde kako: (1) fotografija može donijeti znanje ili mu barem
služiti kao dodatno sredstvo (na način „filozofskog stroja“), nadalje kako je (2) fotografski
referent nužno, a ne moguće postojeći (ili; ako nešto postoji to se mora moći fotografirati), te
naposljetku kako (3) fotografija jedino može govoriti o nestalom vremenu. Ipak, dok svaki od
pristupa afirmira sebi bliske, on redovno isključuje iz definicije druge primjene fotografije
(vrlo često to su apstraktne, no i znanstvene fotografije…). Očigledno, obzirom polaze od
sebi najbliže definicije takozvane. Vernakularne (lokalne, obične) fotografije, odnosno
„normalnih“ ili „prosječnih“ fotografija, većina pristupa ima problema s nepotpunošću
nabrajanja ili indukcije. Uvodi se, stoga, nova definicija koja radije deducira moguću
fotografiju iz kapaciteta samoga medija, odnosno njenih tehnoloških pretpostavki. Obraćajući
pažnju na sam početak fotografskog procesa, banalne parametre poput posebnih tehničkih
odlika specijalizirane i komercijalne fotografske opreme, te odabira i namjera koje odlučuju o
njihovim primjenama, disertacija otvara nove mogućnosti interpretacije, a time i širenja
područja istraživanja o fotografiji. Naime, redefiniranjem se otvara pristup etici fotografske slike, odnosno šire; filozofiji politike, pregledajući motive predstavljanja fotografije u svrhe
dokaza. Pod temom moralne odgovornosti, koja postaje osnova definicije fotografije kao
dokaza; namjesto teze kako fotografski referent nužno postoji, zaključuje se na često
previđenu činjenicu kako je - fotograf bio „tamo,“ bitnu za kritike represivne (vojne,
političke) primjene fotografije, koje uglavnom i rabe fotografiju u svrhe dokaza.- The dissertation Photography as the Evidence deals with scepticism and relativism introduced
by media theories regarding evidentiary status of digital photography. It proves that similar or
even the same type of material, having no capacity of being an evidence, existed previously,
in the era of analogue photography, so no substantial or revolutionary change occurred with
new, digital, technologies. This analysis is undertaken inside discourses of three realisms that
emerged simultaneously with the invention of photography. These discourses are;
pragmatism, positivism and historical realism. All of them are defining photography in terms
of its evidence. These discourses allocate discussion on photography in different domains as;
science, philosophy and political theory or political history. They claim that: (1) the
photography can bring the knowledge or can at least serve as its tool (in terms of
philosophical machine), (2) that photographic referent is necessary, not only possibly existing
(thus; if something exists can be photographed), and that (3) the photograph can only serve to
illustrate the vanished time. Still, each of these perspectives is partial, as excluding some
other practical usage of photography as the medium. Obviously, as all of them are starting
with the nearest definition of vernacular photography, or what is depicted as “normal” or
“average” photography, they are producing a fallacy of incomplete induction. A new
definition deriving possible photographs from the capacity of its medium, is introduced.
Returning to the very start of the photographic process, to seemingly banal parameters as
technological specificities, as well as to photographer’s choices made upon it, the dissertation
is introducing new domains of interpretation. Introduction of the photographic agent into the
discourse, namely, allows proceeding to the domain of photographic ethics, or even into wider domain of philosophy of politics, giving an overview of critical issues when
photography is presented as evidence, in moral sense. Primary author is distinguished from
the secondary one in regard to rules given in commission, bringing up notions of
responsibility, as the only fact being provable, and that is – the photographer „has been
there,“ which is coming important for repressive (political, military..) exploitations of
photography, predominantly using photography as the evidence.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
MĚŘENÍ DOHLEDNOSTI DIGITÁLNÍM FOTOAPARÁTEM Vladimír Brázda; Muhammad Ijaz; Joaquín Pérez Soler Soler ...
Perner's contacts,
11/2012, Letnik:
7, Številka:
3
Journal Article
Recenzirano
Odprti dostop
Snížená dohlednost výrazně ovlivňuje přenos optických bezkabelových spojů a zároveň je kritickým faktorem bezpečnosti v dopravě. V příspěvku je navržena a otestována metoda měření dohlednosti ...využívající digitální fotoaparát. Navržená metoda je schopna měřit dohlednost mezi dvěma pevně danými body a využívá definice dohlednosti o poklesu kontrastního poměru na 2 %. Naměřené hodnoty za přítomnosti dvou různých typů mlhy jsou úspěšně ověřeny porovnáním s Kimovým vzorcem. Další testování navržené metody odhalilo, že je nutné mít správně nastavené vyvážení bílé barvy (White Balance) ve vztahu ke zdroji světla.
Provider: - Institution: - Data provided by Europeana Collections- Fotoaparát z osobnej zbierky Dr. Ľ. Feiglera- All metadata published by Europeana are available free of restriction under the ...Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Mladí skauti předvádějí svoje dovednosti při příležitosti návštěvy místodržícího Maxe von Coudenhove. Ryze tábornické činnosti - ...stanování, vaření - střídají ukázky branných dovedností - pobyt v zákopech, ošetření raněných. Svoji fyzickou zdatnost demonstrují skauti skupinovým prostným cvičením, vrháním kamene a šermem.- Young Scouts are presenting their skills at the occasion of the visit of Proconsul Max von Coudenhove. Purely camping activities - camp out, cooking - are shifted by shots showing the Scouts' military skills - staying in trenches, treating of wounded people. The Scouts are presenting their physical fitness by performing of gymnastic exercises, throwing of stones, and fencing.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Před oficiálním zahájením 3. mezinárodní letecké výstavy v roce 1924 se domácí i zahraniční hosté scházejí před Průmyslovým palácem ...na pražském Výstavišti a očekávají příjezd prezidenta Masaryka. Jsou mezi nimi mj. generálové Jan Syrový a Louis-Eugéne Faucher, generální inspektor čs. branné moci Josef Svatopluk Machar a britský ministr letectví Christopher Thomson. Výstavu zahajuje předseda Čs. aeroklubu generál František Kolařík. Prezident Masaryk si v doprovodu ministra obrany Františka Udržala prohlíží jednotlivé expozice a naslouchá výkladu odborníků. Po prohlídce expozic domácích i zahraničních firem prezident s doprovodem odjíždí. Druhá část filmu se věnuje detailněji jednotlivým zahraničním expozicím - britské a německé, i exponátům tuzemských firem - Aera a Avie. Film končí záběry vypouštění leteckých modelů na prostranství před Průmyslovým palácem.- Prior to the official opening of the Third International Aviation Exhibition in 1924, a crowd of domestic and foreign guests gathers in front of the Industrial Palace (Průmyslový palác) at the Prague Exhibition Grounds (Výstavistě) awaiting the arrival of President Masaryk. Among those in the crowd are the generals Jan Syrový and Louis-Eugéne Faugher, the general inspector of the Czechoslovak armed forces Josef Svatopluk Machar, and the British Secretary of State for Air, Christopher Thomson. The president of the Czechoslovak Air Club general František Kolařík ceremoniously opens the exhibition. Accompanied by Minister of Defense František Udržal, President Masaryk visits individual exhibits and listens to the explanations of experts. After visiting the exhibit of domestic and foreign aviation companies, the president and his entourage leave the exhibition. The second half of the film features detailed examinations of British and German exhibits as well as displays of the Czechoslovak companies Aero and Avia. The film ends with a shot of model planes being launched on the the square in front of the Industrial Palace.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Sanitas Ozoliņas ģimenes fotoaparāts "Smena 8M", kas tika izmantots dokumentējot notikumus ģimenes lokā, kā arī sabiedriskos ...notikumus 1989. gadā. Sanita Ozoliņa Baltijas ceļā piedalījās divu gadu vecumā kopā ar vecākiem pie Cēsīm.- Europeana 1989 - Riga, 23-24.08.2013- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Laumas Alksnes-Alksnītes fotoaparāts "Zenit-B", kurš viņai bija līdzi piedaloties Baltijas ceļā Rīgā pie Brīvdabas muzeja.- ...Europeana 1989 - Riga, 23-24.08.2013- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
