This book is designed to aid the photographer, archaeologist, and others interested in the basic techniques of archaeological photography. The author demonstrates how to set up photographs of archaeological artifacts for documentation and publication and presentation slides along with photographing excavation progress in the filed and site plans. Beginning with the techniques explained here a photographer will be able to solve almost any problem that could come up at an excavation.
This fully illustrated catalogue of essays, descriptions, and commentary accompanies the Oriental Institute special exhibit Picturing the Past: Imaging and Imagining the Ancient Middle East (on exhibit February 7 through September 2, 2012). Picturing the Past presents paintings, architectural reconstructions, facsimiles, models, photographs, and computer-aided reconstructions that show how the architecture, sites, and artifacts of the ancient Middle East have been documented. It also examines how the publication of those images have shaped our perception of the ancient world, and how some of the more "imaginary" reconstructions have obscured our real understanding of the past. The exhibit and catalog also show how features of the ancient Middle East have been presented in different ways for different audiences, in some cases transforming a highly academic image into a widely recognized icon of the past.
In 1890, Professor Arthur Willis Goodspeed, a professor of physics at Pennsylvania USA was working with an English born photographer, William N Jennings, when they accidentally produced a Röntgen Ray picture. Unfortunately, the significance of their findings were overlooked, and the formal discovery of X-rays was credited to Wilhelm Roentgen in 1895. The discovery has since transformed the practice of medicine, and over the course of the past 130 years, the development of new radiological techniques has continued to grow. The impact has been seen in virtually every hospital in the world, from the routine use of ultrasound for pregnancy scans, through to the diagnosis of complex medical issues such as brain tumours. More subtly, X-rays were also used in the discovery of DNA and in military combat, and their social influence through popular culture can be seen in cartoons, books, movies and art. Written by two radiologists who have a passion for the history of their field, The History of Radiology is a beautifully illustrated review of the remarkable developments within radiology and the scientists and pioneers who were involved. This engaging and authoritative history will appeal to a wide audience including medical students studying for the Diploma in the History of Medicine of the Society of Apothecaries (DHMSA), doctors, medical physicists, medical historians and radiographers.
This edition presents the most prominent topics and applications of digital image processing, analysis, and computer graphics in the field of cultural heritage preservation. The text assumes prior knowledge of digital image processing and computer graphics fundamentals. Each chapter contains a table of contents, illustrations, and figures that elucidate the presented concepts in detail, as well as a chapter summary and a bibliography for further reading. Well-known experts cover a wide range of topics and related applications, including spectral imaging, automated restoration, computational reconstruction, digital reproduction, and 3D models.
Diagnostic paleoradiology is the use of X-ray studies to detect ancient diseases. The broad range of themes and imaging techniques in this volume reflects four decades of research undertaken by Don Brothwell in anthropology, human paleopathology, and zooarchaeology, combined with two decades of skeletal radiology experience during which Rethy Chhem read over 150,000 X-ray and CT studies. All the authors are leading experts in the fields of Radiology and Bioanthropology.
In archaeology, photography is mainly used as a technique for gathering data and evidence. Within the framework of the research project '(in)site, site-specific photography revisited' the relationship between photography and archaeology, or broader, history is explored. How do photographers visualize history? What is the importance of place, particularly the place that remains after the event took place? How do photographers or artists use photography to depict the past, when time has become 'past time'? These articles and portfolios explore, both on practical and theoretical level, how history can be captured. The research project is an attempt to redefine the traditional relationship between archaeology and photography in order to produce new forms of image-making more adapted to contemporary visual culture. The project considers photography as a practice in which a picture is shaped and constructed by the photographer, not a practice in which a picture is mechanically taken.
Drawing from a rich corpus of art works, including sarcophagi, tomb paintings, and floor mosaics, Patrick R. Crowley investigates how something as insubstantial as a ghost could be made visible through the material grit of stone and paint. In this fresh and wide-ranging study, he uses the figure of the ghost to offer a new understanding of the status of the image in Roman art and visual culture. Tracing the shifting practices and debates in antiquity about the nature of vision and representation, Crowley shows how images of ghosts make visible structures of beholding and strategies of depiction. Yet the figure of the ghost simultaneously contributes to a broader conceptual history that accounts for how modalities of belief emerged and developed in antiquity. Neither illustrations of ancient beliefs in ghosts nor depictions of afterlife, these images show us something about the visual event of seeing itself. The Phantom Image offers essential insight into ancient art, visual culture, and the history of the image.
On museum visits, we pass by beautiful, well-preserved vases from ancient Greece—but how often do we understand what the images on them depict? In Image and Myth, Luca Giuliani tells the stories behind the pictures, exploring how artists of antiquity had to determine which motifs or historical and mythic events to use to tell an underlying story while also keeping in mind the tastes and expectations of paying clients. Covering the range of Greek style and its growth between the early Archaic and Hellenistic periods, Giuliani describes the intellectual, social, and artistic contexts in which the images were created. He reveals that developments in Greek vase painting were driven as much by the times as they were by tradition—the better-known the story, the less leeway the artists had in interpreting it. As literary culture transformed from an oral tradition, in which stories were always in flux, to the stability of written texts, the images produced by artists eventually became nothing more than illustrations of canonical works. At once a work of cultural and art history, Image and Myth builds a new way of understanding the visual culture of ancient Greece.
