Detecting Progression of Treated Choroidal Melanomas: Is Ultrasonography Necessary?

Prompt detection and treatment of local treatment failure after radiotherapy for choroidal melanoma optimises any opportunities for conserving vision and the eye, possibly reducing an increased risk of metastatic disease. Long-term surveillance is therefore required but is hampered by the perceived need to perform ultrasonography, which may not be available at a patient’s local hospital. The aim of this study was to determine whether local treatment failure can reliably be detected with colour fundus photography alone, and, if so, in which patients. Patients were included in the study if diagnosed with local treatment failure between April 2016 and February 2021 after eye-conserving therapy for choroidal melanoma. Wide-field colour and fundal autofluorescence (FAF) images, optical coherence tomography (OCT), and ultrasonography (US) were analysed by two of the authors (GN and UH). The cohort included 87 patients with local treatment failure. In 75 patients with clear media, tumour progression was detected by colour photography alone in 74 (98.7%) patients. Sensitivity was not increased by the addition of either OCT or AF. One patient with clear media developed extraocular extension detected with US without visible change in the intraocular part of the tumour. In the other 12 patients, US was required because of opaque media and a consequently poor fundal view. Local treatment failure after radiotherapy for choroidal melanoma is detected in 98.7% of cases with colour photography when the media are clear. Ultrasonography is useful when photography is prevented by opaque media or tumours having locations in the far periphery.

Image Colorization Using Autoencoders

Modification of art may be viewed as enhancement or vandalization. Even though for a long time many were opposed to the idea of colorizing images, they now have finally viewed it for what it is - an enhancement of the art form. Grayscale image colorization has since been a long-standing artistic division. It has been used to revive or modify images taken prior to the invention of colour photography. This paper explores one method to reinvigorate grayscale images by colorizing them. We propose the use of deep learning, specifically the use of convolution neural networks. The obtained results show the ability of our model to realistically colorize grayscale images. Keywords: Deep Learning, Convolutional Neural Network, Image Colorization, Autoencoders.

Photographic storage Solutions In Collections Management : The Edward Burtynsky Archive

The paper, "The Edward Burtynsky Archive" is part of the thesis project submitted by Paul Sergeant in the partial fulfillment of the Master's Degree in Photographic Preservation and Collections Management at Ryerson University in Toronto, Ontario and George Eastman House International Museum of Photography and Film in Rochester, NY, in 2010. The author proposes the creation of a personal archive/repository of photographic prints for Canadian photographer Edward Burtynsky. This guide will describe archival methods for the storage of 1000-1500 large format colour photographs ranging in size from 27" x 34" to 60" x 70". The goal of this project is to produce a resource for present and future researchers concerned with the preservation of colour photography. Through research on the preservation of colour photography and archival storage standards, I will locate a viable space, design a model for storage, source materials, and construct the archive/repository by September 1, 2010.

Photographic storage Solutions In Collections Management : The Edward Burtynsky Archive

The paper, "The Edward Burtynsky Archive" is part of the thesis project submitted by Paul Sergeant in the partial fulfillment of the Master's Degree in Photographic Preservation and Collections Management at Ryerson University in Toronto, Ontario and George Eastman House International Museum of Photography and Film in Rochester, NY, in 2010. The author proposes the creation of a personal archive/repository of photographic prints for Canadian photographer Edward Burtynsky. This guide will describe archival methods for the storage of 1000-1500 large format colour photographs ranging in size from 27" x 34" to 60" x 70". The goal of this project is to produce a resource for present and future researchers concerned with the preservation of colour photography. Through research on the preservation of colour photography and archival storage standards, I will locate a viable space, design a model for storage, source materials, and construct the archive/repository by September 1, 2010.

The colour of time: Stephen Shore’s American Surfaces 1972-2014

In 1972 American photographer Stephen Shore (b. 1947) started the series of chromogenic colour photographs titled American Surfaces (1972-73). In the decades following the initial production of this work and its 1974 acquisition by the Metropolitan Museum of Art in New York, the material qualities and aesthetics of colour photography underwent dramatic changes. This thesis explores the relationship between developments in colour imaging technology and shifts in artistic production from the making of American Surfaces to the present, and explores the increased recognition now given to colour photography as art. In 2016, American Surfaces can be found in a variety of forms including: two publications, numerous recently created digital chromogenic colour exhibition prints, and the original 1972-73 prints at The Met. Focusing on the materiality of this culturally and historically significant body of colour photographic work, this thesis examines three different iterations of American Surfaces from initial production in 1972 to 2014 and their impact on the interpretation of the series.

A hidden history of early colour photography in Britain: the photographs of Agnes B. Warburg (1872-1953)

Agnes Beatrice Warburg (1872-1953) was a British amateur photographer and active member of the Royal Photographic Society (RPS). The official collection of her works is housed at the Victoria and Albert Museum in London, and totals nearly 1000 black and white and colour photographs. Between about 1890 and 1949, Warburg experimented with nine different colour photographic and printing techniques, established the RPS Colour Group in 1927, and invented her own process called the War-type in 1918. This thesis will examine the hitherto untold history of Agnes B. Warburg, and narrate a history of early colour photography between 1907 and 1945, using her body of work as a reference. This approach allows us to see how amateur photographic practices informed and perpetuated the artistic and technical development of colour photography in the early 20th century, and in doing so provides us with a deeper understanding of photographic history.

The colour of time: Stephen Shore’s American Surfaces 1972-2014

In 1972 American photographer Stephen Shore (b. 1947) started the series of chromogenic colour photographs titled American Surfaces (1972-73). In the decades following the initial production of this work and its 1974 acquisition by the Metropolitan Museum of Art in New York, the material qualities and aesthetics of colour photography underwent dramatic changes. This thesis explores the relationship between developments in colour imaging technology and shifts in artistic production from the making of American Surfaces to the present, and explores the increased recognition now given to colour photography as art. In 2016, American Surfaces can be found in a variety of forms including: two publications, numerous recently created digital chromogenic colour exhibition prints, and the original 1972-73 prints at The Met. Focusing on the materiality of this culturally and historically significant body of colour photographic work, this thesis examines three different iterations of American Surfaces from initial production in 1972 to 2014 and their impact on the interpretation of the series.

A hidden history of early colour photography in Britain: the photographs of Agnes B. Warburg (1872-1953)

Agnes Beatrice Warburg (1872-1953) was a British amateur photographer and active member of the Royal Photographic Society (RPS). The official collection of her works is housed at the Victoria and Albert Museum in London, and totals nearly 1000 black and white and colour photographs. Between about 1890 and 1949, Warburg experimented with nine different colour photographic and printing techniques, established the RPS Colour Group in 1927, and invented her own process called the War-type in 1918. This thesis will examine the hitherto untold history of Agnes B. Warburg, and narrate a history of early colour photography between 1907 and 1945, using her body of work as a reference. This approach allows us to see how amateur photographic practices informed and perpetuated the artistic and technical development of colour photography in the early 20th century, and in doing so provides us with a deeper understanding of photographic history.

Advertising photography during the 1930s: Victor Keppler's strike cigarette campaign

The Great Depression was a decade in the United States which was characterized by high unemployment, budget cuts and low income. Citizens, especially the working class did not have the financial resources to purchase the same amount of goods previous to this economic crisis. The advertising business took this opportunity to sell products to the masses, during a time when purchasing luxury goods were not a priority or even a possibility. This created many changes in how advertisements were produced and how they looked. Using Victor Keppler as an example, this thesis will describe how the advertising agency Lord & Thomas used colour photography for their Lucky Strike cigarette advertisement campaign, the Witnessed Statement Series. It will describe how the colour carbro print became the mass reproduced advertisement found in magazines and newspapers. The thesis will describe this process and the people who were involved in creating the final print advertisement.

Intersections between visual design and representation: An evaluative study of the ethical dilemmas in the production of HIV/AIDS advocacy advertisements

HIV/AIDS advocacy advertisements often use constructions of specific cultural groups to communicate the need for immediate action to prevent the spread of the virus. This study examines how graphic design strategies such as the use and juxtaposition of colour, photography, typography and vectors create representations of cultural identities. A selection of documents collected from The AIDS Committee of Toronto, International AIDS Day 2009 and The Stephen Lewis Foundation were the sites of the analysis. Drawing from theories of cultural studies and philosophy, this research project examined the semiotic strategies of the documents to develop a set of ethical best practices for visual design. Issues including the representation of cultural groups through victimage, as well as the pace at which an audience is presented information, were key in understanding ethical challenges the visual design of these documents present. The following set of best practices were developed to account for the emerging conventions and moral dilemmas identified in the study: i) Recognizing the harm of victimizing groups, ii) Developing visual representations that avoid negatively stereotyping groups, and iii) Accurately explaining HIV/AIDS issues and its prevention rather than relying on narratives.