This volume addresses the evolution of the visual in digital communities, offering a multidisciplinary discussion of the ways in which images are circulated in digital communities, the meanings that are attached to them and the implications they have for notions of identity, memory, gender, cultural belonging and political action. Contributors focus on the political efficacy of the image in digital communities, as well as the representation of the digital self in order to offer a fresh perspective on the role of digital images in the creation and promotion of new forms of resistance, agency and identity within visual cultures.

The use of images has been critical to the pursuit of science for centuries. This book explores, within an art historical framework how to comprehend images not as illustrative representations, but as productive agents and distinctive multi-layered elements of the epistemic process. If scientific images play a constructive role in shaping the findings and insights they illustrate, the representation of an observation in images, however mechanical, however detached from the individual researcher s choices their appearance may be, likewise becomes an instance of the style of a period, a mindset, a research collective, and a device. The Technical Image emerges from an institute in Germany, which has married art and historical analysis of technical images, and serves as a methodological reference and inspiration for visual representation in the sciences. The work opens with a series of methodological chapters that introduce a set of questions about representations in sciences and medicine, and the core of the work consists of historical case studies around specific images that in turn illustrate themes ranging from "objectivity and evidence" to "digital images." Within these case studies are also definitions and elaborations of selected terms that have in recent years become key concepts in the analysis of scientific imagery."

This volume addresses the evolution of the visual in digital communities, offering a multidisciplinary discussion of the ways in which images are circulated in digital communities, the meanings that are attached to them and the implications they have for notions of identity, memory, gender, cultural belonging and political action. Contributors focus on the political efficacy of the image in digital communities, as well as the representation of the digital self in order to offer a fresh perspective on the role of digital images in the creation and promotion of new forms of resistance, agency and identity within visual cultures.

In image processing, "motions by curvature" provide an efficient way to smooth curves representing the boundaries of objects. In such a motion, each point of the curve moves, at any instant, with a normal velocity equal to a function of the curvature at this point. This book is a rigorous and self-contained exposition of the techniques of "motion by curvature". The approach is axiomatic and formulated in terms of geometric invariance with respect to the position of the observer. This is translated into mathematical terms, and the author develops the approach of Olver, Sapiro and Tannenbaum, which classifies all curve evolution equations. He then draws a complete parallel with another axiomatic approach using level-set methods: this leads to generalized curvature motions. Finally, novel, and very accurate, numerical schemes are proposed allowing one to compute the solution of highly degenerate evolution equations in a completely invariant way. The convergence of this scheme is also proved.

Rick Sammon’s Evolution of an Image illustrates the creative photographic process from start to finish. In this book, Canon Explorer of Light Rick Sammon pulls back the curtain to prove that creating amazing photographs is a well-thought-out process that involves several stages. Comprising 50 case studies that examine photographs taken by Rick around the world in a wide variety of shooting situations, Evolution of an Image shows the power of creative thinking, getting it right in the camera, and the careful use of image processing using Lightroom. By including his outtakes— and the reasons that he considers them outtakes— Rick suggests the steps that every photographer should take in order to improve their images. Combining technical advice with tips on lighting, composition and using Lightroom, this book will motivate and encourage those looking to evolve as creative photographers and digital darkroom artists. Key features include: • More than 200 before-and-after photographs • Fully illustrated sections on wildlife, seascape, landscape, scenic, action and people photography • Screen grabs showing Rick’s Lightroom adjustments • Suggestions on working in Adobe Photoshop Lightroom as well as Adobe Photoshop • Special section on Rick’s "Sammonisms," or quick tips on getting the best in-camera image • Advice on evolving as a photographer • Inspirational photographs from Provence, the Palouse, Kenya, Antarctica, Iceland, Alaska, Mongolia, Myanmar, Colorado and more

A picture-rich field guide to American photography, from daguerreotype to digital. We are all photographers now, with camera phones in hand and social media accounts at the ready. And we know which pictures we like. But what makes a "good picture"? And how could anyone think those old styles were actually good? Soft-focus yearbook photos from the '80s are now hopelessly—and happily—outdated, as are the low-angle portraits fashionable in the 1940s or the blank stares of the 1840s. From portraits to products, landscapes to food pics, Good Pictures proves that the history of photography is a history of changing styles. In a series of short, engaging essays, Kim Beil uncovers the origins of fifty photographic trends and investigates their original appeal, their decline, and sometimes their reuse by later generations of photographers. Drawing on a wealth of visual material, from vintage how-to manuals to magazine articles for working photographers, this full-color book illustrates the evolution of trends with hundreds of pictures made by amateurs, artists, and commercial photographers alike. Whether for selfies or sepia tones, the rules for good pictures are always shifting, reflecting new ways of thinking about ourselves and our place in the visual world.

Emphasizing the changes worked by circulation and copying, interpretation and debate, this book uses the case to explore how pictures succeed and fail, gain acceptance and spark controversy. It reveals how embryonic development was made a process that we can see, compare, and discuss, and how copying - usually dismissed as unoriginal