100 Peers: An open set of controlled emotional facial expressions for use in psychology and neuroscience experiments

Human faces are a ubiquitous stimulus category in experimental psychology and neuroscience, routinely applied in many research domains including perception, emotion, social cognition, and memory. Here, we present a set of portrait photographs of 100 identities with each identity making 9 emotional expressions (anger, calm, contempt, disgust, fear, happiness, sadness, surprise, and neutral), amounting to 900 total photographs. Unlike many existing face databases, these photographs are highly controlled for perceptual features, in that (1) they were taken in a laboratory setting with identical professional lighting, (2) all participants are wearing the exact same neutral clothing (a black t-shirt), (3) all faces have been manually adjusted such that the eyes are approximately at the center of a square without cropping any part of the face from the photograph, and (4) the background has been colored to be exactly the same gray hue in all photographs with no shadows. Given their highly controlled nature, these faces are optimal for experiments aiming to homogenize non-face properties, such as lighting or clothing. We are making the face set open for the benefit of the broader research community, and request that in turn, data collected in response to the faces be made open and linked to the original face database (please cite this technical report). This report presents a high-level summary of the faces using behavioral data (free-response descriptions and emotion categorizations), but these data do not necessarily capture the scope of potential research designs that the stimuli could support. If authors collect relevant pilot data on these stimuli for specific research questions, our hope is that such data can becollaboratively linked to the face set for the community to utilize.

Guided Facial Skin Color Correction

This paper proposes an automatic image correction method for portrait photographs, which promotes consistency of facial skin color by suppressing skin color changes due to background colors. In portrait photographs, skin color is often distorted due to the lighting environment (e.g., light reflected from a colored background wall and over-exposure by a camera strobe). This color distortion is emphasized when artificially synthesized with another background color, and the appearance becomes unnatural. In our framework, we, first, roughly extract the face region and rectify the skin color distribution in a color space. Then, we perform color and brightness correction around the face in the original image to achieve a proper color balance of the facial image, which is not affected by luminance and background colors. Our color correction process attains natural results by using a guide image, unlike conventional algorithms. In particular, our guided image filtering for the color correction does not require a perfectly-aligned guide image required in the original guide image filtering method proposed by He et al. Experimental results show that our method generates more natural results than conventional methods on not only headshot photographs but also natural scene photographs. We also show automatic yearbook style photo generation as another application.

Processing Edward Steichen's Celebrity Portrait Photographs at George Eastman House.

This thesis is an applied project undertaken to process celebrity portraits by Edward Steichen that were gifted to George Eastman House by Steichen's widow, Joanna Steichen, in 2002. These photographs were made for Condé Nast Publications between 1923 and 1937. This thesis discusses processing donations of photographic materials, identifying acetate and nitrate negatives, handling gelatin silver contact prints, and rehousing procedures based on institutional-specific collections management policies. The analytical paper portion discusses processing methods, proposes future processing procedures, and addresses the relationship between the contact prints and printed images in Vanity Fair magazine in order to highlight the importance of creating relationships between objects in museum collections.

Processing Edward Steichen's Celebrity Portrait Photographs at George Eastman House.

This thesis is an applied project undertaken to process celebrity portraits by Edward Steichen that were gifted to George Eastman House by Steichen's widow, Joanna Steichen, in 2002. These photographs were made for Condé Nast Publications between 1923 and 1937. This thesis discusses processing donations of photographic materials, identifying acetate and nitrate negatives, handling gelatin silver contact prints, and rehousing procedures based on institutional-specific collections management policies. The analytical paper portion discusses processing methods, proposes future processing procedures, and addresses the relationship between the contact prints and printed images in Vanity Fair magazine in order to highlight the importance of creating relationships between objects in museum collections.

From the Self-Image to the Image Itself

In this article, I examine the idea of the portrait from two viewpoints: the ‘classical’ portrait as it appears in Jean-Luc Nancy’s post-phenomenological philosophy, and the recent self-portrait photographs or ‘selfies’ on social media. First, I consider the portrait’s value in Nancy’s theories of art: for him, portraits hold an important position among the genres of visual art, since they present themselves as distinctive images by extracting the innermost force of the portrayed person. Secondly, I take up the philosophical and political implications of Nancy’s notion of the portrait vis-a-vis the contemporary selfie culture. I suggest that, instead of emphasizing the model’s singularity as traditional artistic portraits do, the flow of selfies tends to create similarity. I begin by clarifying Nancy’s paradoxical claim that the human portrait may resemble a person only on the condition of not representing him or her. After this, I inquire about the philosophical position of selfies as constructed portraits that make visible the absence of the self. However, as I argue, they do this in a sense that differs from Nancy’s account of the portrait. As a result, I propose that the repetition and circulation of selfies has remarkably changed our view on the significance and, finally, the ontology of the portrait.

Sensation

Photography was a quintessential new visual technology of the nineteenth century. Chapter 4 studies cartes de visite, or small photographic portraits. These collectible photographs became both popular and controversial during the so-called “sensation” craze of the 1860s. Scholars have largely focused on sensation novels, known for their lurid crime plotlines and outrageous villainesses. Yet sensation was more than merely a literary aesthetic: it was a multimedia phenomenon encompassing both novels and photographs. It responded to new forms of spectacular female celebrity, as seen in the wild popularity of photo portraits of actresses, opera divas, prostitutes, even Queen Victoria. The carte-de-visite medium, circulating women’s portrait photographs in millions of paper copies, perfectly encapsulated sensation’s dialectic between embodiment and mediation, and between individual celebrity and the democratized mass. These themes drive the plots of sensation novels, especially Wilkie Collins’s The Woman in White and M. E. Braddon’s Lady Audley’s Secret.

Potret Sebagai Data Pribadi Yang Di Komersilkan

Portraitis works of copyrighted photography with human objects. Personal data is data inthe form of personal identities, codes, symbols, letters or numbers of personal identifiers.Personal data includes personal life affairs including (history) someone's communication.Whereas in concept, personal data is not merely information about domestic sphere, but alsoinformation about professional history,professional and public life because a person'spersonal affairs also intersect with the relevant public affairs (interpesonal relationships andalso facts that occur in public spaces). Legitimacy of personal rights is regulated asconstitutional rights as regulated in Article 28G paragraph (1) of the 1945 Constitution ofthe Republic of Indonesia. Portrait in which there are human beings as objects is part ofpersonal data. Portrait is part of human identity that must be protected. The use of unlicensedportraits for commercial purposes can be detrimental to portrait owners not onlyeconomically, this action injures self-identity which can cause a bad image for that person.The use of portraits as personal data without permission for commercial purposes can besubject to criminal sanctions (Copyrights Law) and civil claims (Law on ElectronicInformation and Transactions). This paper discusses how portrait settings are as commercialdata. The purpose of this writing is that the output of the purpose of this paper is as the outputof the Beginner Lecturer Research compiled by the author with the title "CopyrightProtection on Portrait Photographs in Social Media".

Who likes whom? The interaction between perceiver personality and target look

We investigated determinants of liking at zero-acquaintance, focusing on individual differences in perceivers’ reactions to appearance cues. Perceivers (N = 385) viewed portrait photographs of Targets (N = 146). Perceiver’s Agreeableness and Extraversion were uniquely associated with liking targets. Targets who expressed positive emotions, looked relaxed, were physically attractive, and looked healthy and energetic, were the most liked. There were substantial individual differences in how Perceivers were influenced by appearance cues. For instance, Perceivers generally rated targets who displayed non-Duchenne (fake) smiles less favorably than targets who did not smile or targets who displayed Duchenne (authentic) smiles. However, non-Duchenne smiles elicited especially negative ratings from Perceivers high in Neuroticism or Conscientiousness, but not from Perceivers low in Agreeableness.

Ethnic Stereotypes and Entry into Labor Market Programs

The authors examine the impact of ethnic bias based on public employment officers’ decisions when choosing whom to recommend for participation in a labor market program. On the basis of an experiment that uses job seekers’ own portrait photographs, their recorded voices, and their real names, findings show that when recommending job seekers for labor market programs, female caseworkers are not affected by job seekers’ appearance, but male caseworkers favor job seekers who are perceived to have a stereotypical Swedish appearance. Moreover, the authors find that, as intended by the guidelines of the Swedish Public Employment Service, both male and female caseworkers favor job seekers perceived, based on the job seekers’ recorded voice, to have a foreign background. The authors’ conclusions suggest that when no explicit guidelines are provided for addressing the impact of ethnic stereotypes on selection for training programs, a risk of bias based on ethnic stereotypes of physical appearance exists.

Trophy Hunter: Ulrich Seidl’s Portraits and Safari

The Austrian director Ulrich Seidl often films interview subjects as though they were posing for portrait photographs, and Seidl maintains that one of his major influences is the photographer Diane Arbus. This article examines how this high level of control over a film’s frames reveals strategies central to his filmmaking and especially to his documentary films. Seidl is particularly concerned with depicting his subjects’ complicity in the exploitation of labor, as seen in Safari (2016), a film about Austrians who travel to Namibia to hunt and collect trophies. Seidl presents viewers with unforgiving portraits of Austrian tourists, as he employs nearly every one of his trademark techniques to highlight the many contradictions behind his subjects’ perspectives.