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Photography Masters Theses

Graduate students in the Photography program develop visual and critical expertise through course work, seminars, independent studio work and critiques designed to provide a deep understanding of contemporary art practices and criticism. Working in personal studios, students have access to state-of-the-art technical facilities that allow for the exploration of film-based and digital photography, digital video and multimedia production.

In the final semester, MFA candidates focus on creating a comprehensive body of work under the guidance of a thesis committee. All Photography graduate students produce a thesis book that includes a written narrative and a body of visual work. They also participate in the RISD Graduate Thesis Exhibition , a large-scale public show held annually.

Graduate Program Director: Brian Ulrich

These works are licensed under a Creative Commons Attribution-NonCommercial-No Derivative Works 4.0 License .

Theses from 2023 2023

Mistranslated , Hee Young Cha

In a Condition of No Light , Alana Perino

Coast to Coast , Zeyuan Ren

Garden Etiquette , Kai Wasikowski

Theses from 2022 2022

Rememory , Jonathan Mark Jackson

The great delusion , Beth Johnston

Mason & Dixon: History and Identity in the Borderlands , Drew Leventhal

Bewildering narrative , Ali Newhard

Dead Letter Room , Allie Tsubota

Theses from 2021 2021

Imaging "Interracial": performing racialized desire in "interracial" heterosexual hardcore pornography , Megan Christiansen

Becoming a precipice: the liminality of queer cruising , Chance DeVille

Wounds need air , Camilla Jerome

Martyr (in exile) , Xinyi Mei

I just can't get you out of my head : frenetic vortex, animal as image - field notes (1989-2021) , Steffanie A. Padilla

Fossil morphology , Leah Zhang

Theses from 2020 2020

The knots on the underside of the carpet , Lily Colman

Amor fati , Keavy Handley-Byrne

First sweet truth , Jessina Lynn Leonard

These inadvertent marks , Thomas Wilder

Make yourself at home , Han Seok You

Theses from 2018 2018

Between gods and animals : deconstructing heteronormative masculines pursuit to sustain power , Shawn Bush

Pretend power , Rosemary Engstrom

Theses from 2017 2017

Naturally occurring form , Margaret Kristensen

Theses from 2016 2016

Once there was there wasn't , Svetlana Bailey

Theses from 2015 2015

Mid- , Elise Kirk

The Void, The Mystery, The Vast Array, The Infinity of Unities, The Otherworld, The Absolute, The Hidden Order, The Randomness, The Infraworld, The Nothing, The Zone of Immaterial Sensibility, The Silence, The Hollow of Space, The Ineffable, The Emptiness, The Wild , Drew Ludwig

Theses from 2011 2011

Seven Seas Without , Ambereen Siddiqui

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Browse through the thesis descriptions below, or use Ctrl+F / command+F to search for specific keywords.

If you find a thesis you want to read, click this link to the Online Thesis Folder and browse by year and then name.

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Adam Finkelston – NOW YOU SEE ME – 2023

Now You See Me, is an ongoing series of photography-based linocut self-portraits. The title alludes to the familiar ending of the axiom, “now you don’t”— implying that while you see me… my body, my experiences, and perspectives on my life, there are many parts of my existence that you don’t see in these images. The storytelling aspect of my images illustrates only moments and pieces of my truth. The images are about me, but they are also about a character I play. The character represents a man who inhabits constructed spaces acting out the dramas and moments of reflection in everyday life. In this thesis, I intend to make a connection between the indexicality of photography and the gestural aspects of printmaking. These two ways of making images – photography and printmaking – are emblematic of the balance between reality and fiction in my work. My prints seek to show visualizations of my own thoughts and feelings. By starting with a photograph, I can capture my poses and surroundings in a realistic way, but by departing from the photograph into drawing and printmaking, I can add or subtract from the original photograph, incorporating details and quasi-surrealist imagery to enhance the impact of the images. Editing out personal details allows for clarity and a deeper connection to the universal, harnessing the totality of human experience. The gestural expectations and nature of drawing and printmaking add a fictional element to the reality of the photograph. A drawing is always necessarily removed from whatever it represents. Even in a direct observational drawing, the artist is a filter between reality and its interpretation. In these prints I am rooted in photographic reality but adding my own interpretations and reveries through the addition of drawing and printmaking

Harrison Irving Loomis – American Moments – 2023

I see the spectacle of society. Brady’s photographs of civil war battlefields haunt my mind as I walk across the grounds of an American fort in Maryland, where history is performed by reenactors as though trapped in time. As I photographed tourists performing for their own images at Niagara Falls, I question whether their digital keepsakes hold any value, a bad picture becomes a forgotten experience, but a great experience should be remembered. In Times Square, tourists stare at the billboards of New York advertising, thinking they’ve found the beating heart of a city, when the local office workers just try to avoid it. Those same office workers might be happy to go to a baseball game, but they’ll be focused on their laptops more than the game, like the suits I found in box seats at Comerica Park. The structures of most stadiums organize people like a mini city, each person in their place, at levels determined by class. While everyone is free to walk Boston Common, only the privileged will get to look out on it without stepping outside, divided by apartment walls and glass windows. Yet everyone comes together to enjoy the fireworks show on New Year’s Eve, the dazzling lights and concussive blasts remind them they’ve been alive for another year and ask what they’ll do in the next. My photographs claim that it doesn’t really matter, the spectacle will still be there, in different forms, in different colors, in different American Moments. Sometimes I wish I could just enjoy the show...

Jessica Bonifas – Filmmaking is a River: My Journey Towards the Camera – 2023

I use filmmaking as a tool to alleviate suffering. During difficult times in my life I turned to the camera as I am able to express myself freely without explanations or words. The camera acts as a bridge between myself and others, allowing people to cross into the mind of the filmmaker. I’ve titled my most recent film, Fulaing is a Gaelic word meaning to suffer. I use the Gaelic language as a homage to my Irish heritage and for the preservation of the language itself. This short experimental film was shot on Super 8 analog film and projected in the gallery. I use fulaing to describe how I feel sometimes as a mother, filmmaker, and human struggling to survive in the world today. Fulaing is a piece of my story told in a loose experimental style to express the adversities that I have faced, and overcome, in my life

J udit German-Heins – A MONSTER IN THE SHAPE OF A WOMAN – 2023

This work is centered on my experience as a woman, a survivor, a host. It acts as a proof of my existence. My photographic images are drawn from stories, dreams, and feelings about my own experiences and illustrate struggles that I and many women face through their lives. I am interested in the complexity of being a woman biologically, socially and historically. My photographs are made with the wet-plate collodion technique, commonly used in the late -19th century. The slow process of pouring the sticky, volatile, and flammable emulsion, which records my experiences for centuries to come, allows me to embrace my past gradually. As I carefully mix acid, alcohol and salt to let the molecules work together to bring the latent images alive, I wonder about and consider my body as a collection of cells that encompass my ancestral history and that also carry traces of my children — dead and alive. For me, noble metals I use interpret and capture the intrinsic value of a female body and soul.

R. Kevin Combs – The Milltown – 2023

In this thesis, I will introduce you to the Town of Fries and many of its characters. The characters include me, some of the residents, and even the fog. We may find that the fog obfuscates certain truths about small town life, and occasionally, represents the differences I believe we have in this country. I will tell you stories about how the town was built from the ground up at the turn of the twentieth century to use the natural resources in the area and to exploit the tendency for wages to be lower in the Appalachian Mountains than in other parts of the country. I will tell you the story of the Town of Fries through my photographs and narration. You might even call it a performance. The story will provide a lesson in tolerance in a divided age and may assist in lifting the veil of fog that is a metaphor for our society and culture.

MFA Photography and Integrated Media Thesis Menu (2013-2022) Online Thesis Folder

Cotton Miller – The Limbo of Loss - 2013

Our entire lives we spend counting, counting up and counting down. The good things we count down to, and the bad things always seem insurmountable. When we are young, we think more is almost always better. As we get older in age and experience we begin to realize less is almost always more. Counting isn’t always about quantifying; it’s about identifying patterns. Counting is an attempt to find order or structure to gain understanding about the thing being counted. The myelin sheath is the protective layer of the axons in the brain, similar to the insulated coating on electrical wires, and in MS the immune system breaks down this protective barrier. When myelin is lost, and the brain-blood barrier is broken, the axons can no longer effectively conduct signals, which will manifest as a variety of symptoms including physical and cognitive disability. After the demyelination occurs, the symptoms that are experienced might subside, but never be fully extinguished. The possibility of loss, the inevitability of loss, and the uncertainty can be equally as powerful and life altering as the actual loss. According to Kübler-Ross, who introduced the hypothesis of the Five Stages of Grief, “The limbo of loss is in itself a loss to be mourned. Uncertainty can be an excruciating existence. It is the loss of life, going nowhere or going nowhere slowly without knowing if there will be a loss. This has become the foundation of my work, the idea that the mind is distinctly different than the brain.

Tommy Matthews 2013

If I ever build a house I will make it very skinny and tall with all the rooms built on top of each other, strung together through each other’s dreams as we slept. What about the person on the bottom then? Who was holding me in their dreams? Maybe this is what it means to grow up, to care and to provide instead of to receive. I grabbed the framed family photos and laid them flat on their backs, and carefully stacked one on top of the other till they made up a half-foot of thickness. Stepping on the frames I was conscious to keep my weight on the outside edges of the stack where it felt more secure. With time enough to make one last move I followed Vitus to the path that careened down a dirt embankment and bottomed out in a small opening of trees. The forest floor was hidden by arching ferns rising as high as my waist. An old felled Douglas fir was there; having collapsed long ago it was now a nursery log. It was half hollowed out inside and I crumpled my body in its opening. Vitus wedged himself alongside me and curled up in the shape of a scallop. As consciousness began to slip away I was eased to know I’d wake here, happy to be held in the grace of this great nurturer of the forest.

Nikki Seggara - Thalassophobia: A Philosophical Narrative On Congenital Fear – 2013

Though I have no recollection of it, it took years for my mother to get me to willingly bathe. She recalls that, even as an infant bathing in the sink, I would scream to the top of my lungs - even harder at the prospect of getting my head wet to wash my hair. It was the thought of deep water terrified me; the thought of what lies beneath - this trepidation of being pulled under, either trapped and unable to surface, or overcome by a creature where my vulnerable body, drifting in the vast sea, gave me no fighting chance. They could feel the pounding of my heart and the panic I struggled to contain for fear of giving myself away. It was the thought that my body could forever be lost in the lower depths, never to reemerge. I could never escape the feeling that this was...my fate. This question of shared phobia has enveloped the deepest corners of my mind. As an artist, I choose to make work that is symbolic of my quest for reasoning behind my fear. There are many who claim that innate fear exists, without any presence of personal history as a factor. These proclivities have been analyzed at great lengths for at least 50 years within the field of Ethology. Ethologists are particularly concerned with innate behavior, and believe that such behaviors are the result of genetics and in the way genes have been modified during evolution to deal with particular environments (Eibl-Eibesfeldt and Kramer) Konrad Lorenz, often described as the ‘father of ethology,’ spoke about this V-shaped shadow as a releasing mechanism for an innate fear response. The same fear response is witnessed in apes, who are all congenitally frightened of snakes, one of the few innate animal-based fears to also be widely present in humans. It is a grandiose notion, that my fears were ingrained into my brain from ancient genetic blueprints, passed down from generation to generation. She paradoxically loved what she also feared, as do I.

Angelina Kidd – Imagining the Unknown - 2013

I believe there is a soul and that it is energy manifested as light. We are connected to the cosmos through the very calcium in our bones and the iron in our blood, which originated from stars that died billions of years ago. My belief is that the earthly body is separate from the soul and that our light energy returns to the cosmos. Energy will not cease to exist, as it cannot be destroyed according to Laws of Thermodynamics. Therefore, if the soul is light energy, then it does not disappear and is instead transformed. Twenty-three years ago, my mother’s life was transformed by cancer. As I approach the same age of her departure, I am constantly aware of my own existence. This is why my investigation into the unknown is relevant and personal. I have no evidence for the human soul or the afterlife, as my research does not set out to prove this. Instead, my consciousness chooses to have faith in having a soul and this leads me into an artistic investigation of how I perceive the afterworld. With my light constructions, I do not seek to exploit this emotion; rather, I aim to provide a visual salve and to encourage my viewer to consider that after death, life will be unknown.

Anna Yeroshenko - Enduring Peripheries

An analysis of 1980’s architectural aesthetic and a physical thesis portfolio of re-photographed folded paper abstractions of architecture in the Boston area.

Anne Eder – Myth as a Semiological Language

Thesis dealing with nature, myths, magic, talismanic objects accompanied by a physical portfolio consisting of an outdoor installation in the Emerald Necklace featuring her giant moss-men made of objects and materials found in nature.

Danielle Ezzo – The Intentional Object

Thesis focused upon the concept of intimacy and its relationship to her professional work as a re-touching artist. This was supported by large scale photographs of only the actual re-touched elements of fashion model portraits and bodies.

E V Krebs – so-totally-ev.tumblr.com

A thesis that is a total interactive experience, different for every “reader” depending upon the links the “reader” elects to follow. A traditional thesis felt too static, whereas the Tumblr venue allowed her to create avenues for exploration through the use of hyperlinks; developing a sense of depth as the “reader” clicked, going deeper and deeper.

Lanai King – Clot: A personal Exploration of Blood as Myth and Medium

Thesis analyzing candidate’s personal psychosis and fear of blood and her exploration of using blood as a medium in artistic expression. Thesis was supported by a video illustrating short vignettes of her explorations.

Natalie Rzucidlo – 2,364 Cuts

A these that explored the relationships and differences between hand-made and industrial objects by mirroring the automatic repetition of a machine through the process of paper cutting and realization through lithography. Physical work were monumental paper abstractions graphically illustrating sound.

Nicole Carriere – The Big Picture

Thesis dealing with the dissection of family photographs through visual language, symbols, and performance of gender.

Tabitha Sherrell – Untitled

Thesis focused upon three generations of women within a single family and supported by large scale photographs of tableaus illustrating reconstructed domestic spaces. Writing dealt with the analysis of posing, and the way photography is used to represent the self and family.

Taylor Singmaster – My Father’s Daughter

Thesis written as an autobiography to document values instilled through childhood and realized in adult life. The thesis was supplemented with a video of the candidate’s work with Down Syndrome afflicted children and how her future career would be dedicated to a foundation dealing with this disease.

Tomi Ni – Wu Xing

Thesis about the lives and existence of illegal aliens, living in building and room-sized communities and their sacrifices to pay off the fees for smuggling them into America and keeping their family healthy, educated, and hopeful. Physical work in the form of photographs of this life.

Crystal Foss – Seeing the self Through the Forest of Judgement: Self Portrait & Power

Thesis engaged in a representation of her life being judged by others for being an overweight young woman. The visual work supplemented the writing and consisted of video, music, and uncompromising mural sized self-portraits.

Katie Doyle – 13 Ways of Looking at X

Thesis analyzing Wallace Steven’s poem, Thirteen Ways of Looking at a Blackbird. The thesis deconstructed the poem and then reconstructed it in the form of a journal to represent how the identical sentiments related to her present life. Physical work existed in the form of a video illustrating the relationships of words and images.

Kwangtae Kim – Soul Scape

A thesis discussing non-representational forms of photography as an invitational bridge into a state of meditation. The physical work took the form of massive scaled photographic abstractions of natural objects, such as his child’s hair, or water, seen in a way to obstruct identification. These works were painted upon in the style of a Sumi calligrapher.

Maryam Zahirimehr – In the Name of God, The Beneficent, The Merciful

A written thesis telling the stories of her life growing up female in the strict Muslim culture of Iran and how those experiences shaped her future. A video illustrating one particular story enhanced the reader’s experience by bringing the story to life. This thesis was subsequently accepted and shown at the Cannes Film Festival.

Maura O’Donnell – Untitled

This thesis considers the female as it is contested in American culture. The work speaks to the confusion of specific roles of woman, and the communication of contradictory views of femininity. The work and the manner in which it is shown translate the ugly encounters she experiences on a regular basis. Physical work consisted of short vignettes in video format.

Natalie Titone – The Excavation of Meaning

Thesis exploring the immigrant experience in America through the memories, textures, and materials used by the people building a life for subsequent generations. Writing dealt with a narrative story-telling experience and physical work was realized by laminations of photographic images from family albums onto porcelain and ceramic materials. Techniques were learned while in an internship at Harvard University.

Traci Marie Lee - The Implications and Consequences of the Snapshot and the Constructed Image

This thesis documented her search for knowledge about a southern aunt who was a pioneer in women being active in politics. The thesis was based on an envelope of pictures and newspaper clippings and was resolved in the thesis through paper constructions and video, with a strong concentration on sound.

Alicia Turbitt – Hearing what Seeing Says

This thesis documented the degeneration of sight of her sister’s boyfriend and his efforts to remain in a normal life in spite of his increasing loss of sight. The physical thesis work was in video form and featured vignettes such as all of his friends taking turns teaching him how to drive a car down a dark road in the winter.

John Dearing – Chemical Geometry - 2017

Dedicated to a 19 th c. path of investigation following Herschel’s Anthotype process, John made hundreds of combinations of food sources and chemistry and painted the solutions on papers exposed to UV light over time. The thesis included research into chemical additives to our food, the effect of UV rays on those solutions, and the nature of abstract expressionism and constructivist painting, the forms he created for his tests on paper.

Natalie Schaeffer – Trust - 2017

A series of lengthy video vignettes in an installation that illustrated the state of a multi-year relationship in the midst of a decision to go forward. The written component supported the process and analysis of the video investigation.

Noelle BuAbbud – Triduum - 2017

This thesis involved a trinity of videos revolving around the visual perception and recognition of the human body in a state of suffering or sorrow. Research detailed the paintings and sculptures she felt were emotionally profound because of the ways in which artists such as Caravaggio, Picasso, Goya, and Kollwitz depicted grief and suffering through the physicality of the human figure. Videos illustrated the research and were in the subjective forms of shadows, as in the parable from Plato’s Cave.

Xiao Zhao – Ferryman - 2017

This thesis focused on the parables, spirituality and theology of Zen Buddhism and that belief system’s impact upon him growing up in China, and his relationship with his grandmother who was a shaman. Visual components were photographic abstractions.

Sara Bonnick - Acts of Almost Touching (And Other Short Stories, Poems, and Analysis) - 2017

This thesis explored the aftermath of intimacy and was represented through a series of videos, photo-sculpture, and installation. Her work formed a language of clothing as it related to emotional connection of direct physical contact. She investigated the concept through repetition, mending, healing, repairing, and attaching. All alterations to an article of clothing displayed a psychological repurposing interaction and compromise between two bodies. The written component was formed via short stories and free verse poetry.

Britney Segermeister - 2018

In a dissection of social media, its features and influences can often be misinterpreted as an assortment of symptoms associated with a variety of mental illnesses. The ability to rapidly change personas, and impulsively construct personalities, could be a description if Dissociative Identity Disorder or nothing more than editing pictures of yourself on a number of unrelated sites. My thesis project is a visual depiction of signs and aspects of mental illness interpreted by the unique etiquette, trends and algorithms of social media.

Casey Cullen 2018 – 22 Poplar - 2018

My thesis, 22 Poplar, is a partial collection of the many memories my childhood home inspired, and in a very real way, a thank you to the people here, and gone, who raised me in it. I am interested in how memories, old and new, personal and familial, coalesce to fill and define personal domestic spaces. My investigation questions how memories, and the events associated with them, are affected by the removal or change of a key component in that moment. My memories, of our home, and the objects within, are now the only things I have left of my grandfather. After he passed, could some part of his being have gone to the same elusive space where memories reside? Probably not, but I would like to think my interpretation of the faux colonial house on 22 Poplar Street will get me a little closer to wherever his beautiful spirit rests.

Candice Inc 2018 – She Knows Me Now - 2018

In collaboration with my mother, my thesis explores the complexities of communication within a mother-daughter relationship following the death of her husband… my father. Throughout our life together, my mom and i were able to talk about anything and everything without conditions. The traumatic death of my father completely altered our dynamic and we became strangers to each other. Unable to recognize the unique pain and loss that the other was experiencing, our ability to understand one another reached a point where spoken language failed. The only way for me to speak at this point was through the trust in my art and visual expression. Words were useless and so I turned to images. In our recent past, this created an even greater problem because my visual approach to telling the story of my suffering was even more incoherent to her than speech. I was forcing her to learn my side of the story, my truth. Children need to recognized by their parents and my mother’s resistance to that adjusted view of her adult daughter continues to be a constant battle for myself. It is a struggle being an artist and a daughter. She Knows Me Now is a test for us. Testing my responsibilities as her daughter, testing us both to not attack or point a finger of blame, and testing my responsibilities as an artist where telling my truths is my priority.

Rebecca Chappelear - 2018

My work explores the evidence that contributed to my family’s dysfunction and ultimately its collapse, brought on by my stepfather’s own separate trauma and depression—complications that had been ingrained into his personality long before we entered his life. My images are constructions based the events that took place during the period that he and my mother were married, in which time I had gone from my mid-teens to my early twenties, and my sister from kindergarten into eighth grade. A photographic narrative allows me to select the memories that are crucial to my and my audience’s understanding of the events that took place; moments that of course were not photographed, as a family reserves the taking of pictures for times meant to be remembered and looked back upon. With the creation of these photographs, I am able to investigate my experience with a man whose role as as my father deteriorated as he was engulfed by his alcoholism and depression.

Samantha Nieto – Catholic Girlhood Narrative - 2018

Growing up, I idolized everything Disney; Mickey Mouse was my god, The Sensational Six were my saints. Disney movies became my homilies and scriptures, they taught me life lessons and helped me imagine that I could be anything I wanted to be. My Lady of Guadalupe, Pocahontas, was my hero as a child and brought strength to me as an adult. She was the only Disney “Princess” I figured I could be due to our similar dark hair and complexion, which I eventually learned to appreciate. Because of her, I knew I was my own heroine princess who didn’t need a prince charming to save the day, I only needed to have faith and believe. My work is interested in the idea and systems of belief as it occurs in my life and in the objects that represent my values and what I believe in. I am expressing my beliefs from the past, and the present. Each piece represents a time in my life, with reference to a foundation of the Mexican catholic faith I grew up with and have transformed from. I am interested in the connection that one has with faith, symbols and objects of value stemming from childhood memories and experiences testing faith. With time, all these elements look different and change meaning as we age.

Brittney Callahan – Paradise Entertainment Feature of the Week: Splint – 2018

Watching television has been part of my daily ritual since childhood. Every time it was turned on, I was able to enter into new worlds that were exotic compared to my house. Each story on the screen filled me with hope, inspired me with passion, and took me to a place where everything, no matter how terrible, seemed to have a purpose, an arc, and an end. These visual narratives birthed the idea of an equational life, one that seemed simple and mathematical. After I realized that life couldn’t be firmly calculated, I decided to invent my own alternative realities of which I could control through photography and video. My primary interest is in self-construction, how identities and personalities are formed, how they manifest and shift, and the characterization of “self”. With my current work, I am utilizing the techniques of cinema and theater to construct a fictitious reality, that emulates the surface of a world that I have long-envied and idolized: Hollywood. The process of performing in my designed space is cathartic because, instead of being a passive spectator to someone else’s constructed narrative, I create my own and actively participate in it.

Gretjen Helene – Susurrus – 2019

I am currently working on a 24 minute linear video titled ‘Susurrus’ that will be exhibited within the interactive installation ‘Lost In Thought.’ ‘Susurrus’ is a collage of moving imagery which I am calling a living collage mindscape. This projected video is central in the installation and will be introduced by 11 paced photographs titled ‘Framed,’ and accompanied by a resin sculpture titled ’60% water’. For the sake of this introduction to my work, I will concentrate on the video ‘Susurrus’ alone. A discussion about the other installation elements would disrupt their intended affects.

JiSun Lee – The planet, LOVE – 2019

Art allows me to express unexplainable emotions and feelings I have never felt before. Meaning by emotions, for example, sadness and happiness have to co-exist to reveal each other’s existence and the value they have.I always had a hard time controlling my emotions. It may be because I’m a sensitive person; I feel my emotions in huge waves. Many incidences happened to me because my inability to express and control my emotions, Love, relationships, avoidance, jealousy, hatred, anger, and happiness, aresometimes hard for me to express this with words. But I am learning from these contradicting emotions like the light and the dark. After creating my art, I have discovered myself in the process of expressing emotion through art. And I learned to control myself. This is the way I protect myself. The only way to express my sensitive emotions that cannot be created in words because there’s no words for them. My language -I speak through my art.

Kristen Matuszak – Confined In My Skin – 2019

When deciding to create my book, “Confined In My Skin,” I was distinctively thinking aboutcinema, and film reels in particular. The viewer experiences my book the way they would acinematic film, I am continuously manipulating the perception of the viewer. They see what theywant to see, then as they flip through the pages, they get a sense of something much darkerand deeper than their original intake of the work.

Molly Meador – RabbitRabbitRabbit – 2019

The main conceptual focus in this work is obsession, but it has become clear that my living definition of this word is different than the normal interpretation. This is not a project about how obsession can affect a person, and it’s not about obsession as a direct, generally temporary mental state in relation to a specific topic. It’s about how it affects me and the resulting compulsions that occur as a way to live with and control these fixations. It’s about how the obsession can be used and dealt with, but it’s not a solution. An obsession, though intense and consuming, can be finite and have a course. There is a difference between an obsession and an obsessive personality. A life defined by obsession cannot sustain itself with any sort of harmony unless an order is established. That necessity is where this project comes from; and to establish an order to something, you must sometimes first tear it apart.

Vanessa Fischer – This Way Through The Darkness – 2019

I still desire to create a space to preserve and experience my past, only now these memories live outside of my mind in my art. This Way Through the Darkness stems from the Memory Box I created as an adolescent while mourning the loss of my mother. Looking at household surfaces has been my way of connecting to the memory of my mom, because these were the surfaces she touched every day, the same surfaces I have in my life today

Will Harris – Evelyn Beckett – 2019

In this work I confront the complexities of my Nana, Evelyn Beckett’s dementia, by fabricating the pieces that have gone missing. Within my Nana's mind, history and fiction collide, creating something strangely new, haunting and at times painfully beautiful. Ten years ago was now ten minutes ago. There were no seasons; the clocks stood still. My grandmother was both lost and reborn. Fragments of the person I used to know would come to me now and then, but she was no longer my Nana and there was no one to hold our familial history together.

Byron Hocker – Red Sky Morning – 2020

I have found ways to escape the daunting task of everyday life. I can use photography to play. I am able to convert the seriousness of life to my own comedic circus. Roland Barth in Camera Lucida said it more eloquently than I when he wrote, “What pricks me is the discovery of this equivalence. In front of the photograph of my mother as a child, I tell myself: She is going to die, I shudder...over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is a catastrophe.” Because of this truth, I must play and create because it is all too serious. I can also transform these people, my family, into anyone I want when I am in control of the photograph.

Ge Wang – A Reluctant Citizen – 2020

Photography has been a narrative tool for my family. I did not have much of my own voice in the family narrative because my parents were the photographers. I picked up photography soon after I left China and started to live alone in the US. I became the executor behind the camera, recording my very own story. Even still, I still lose my sense of time here very often. The memories I have formed in America have never managed to dig themselves a deep hole in my mind.

Lys Ciani – Field Notes – 2020

I practice camera-less photography and assume the rights to these elemental processes in hopes of gaining a more grounded and intrinsic understanding of the landscapes I observe, interpret, and create. I’ve adopted this type of field work as a personal collection of visual-mappings of uninhabited environments. Field notes are composed of two components: descriptive information and the observer’s reflection about the study that is being conducted. Each print carries light, minerals, and contaminants of the water; literal recordings of the environment they took form in. Untidy records recalling weather conditions, time of day, and where on the bend they were made. They coalesce to form a portrait, a trace of the shifting identity of a riverbed.

Matt Klos – Field Notes – 2020

In the last four years I have been acclimating, building, and modifying my life. Creating a new normal and reestablishing what it means to be me both physically and psychologically. Paralysis is the metaphorical-well of inspiration I draw upon to create my images, sculptures and studio working environment. I utilize my paralysis as both coping mechanism and visual source, documenting and interpreting my body’s devastation within the fine lines of reality and fabrication.

Anna Clem – To the Garden and Back – 2021

To the Garden and Backconsists of four distinct series—The Perennial Garden, Floating Petals, Tucked into the Garden Bed, and Visitor—and a video piece called In Her Garden, through which I have examined from all sides my longing for the impossible return to innocence, obsession with preservation, and my present-day “gardens.”

Faith Ninivaggi – Present History – 2021

I’ve stared into the eyes of murderers and abusers. I’ve studied and documented the masterful kinesics of great athletes, influential politicians, and infamous public figures. Through my lens, I’ve captured victories and tragedies. I’ve documented the literal forces of nature. I’ve talked to thousands of strangers, tapping on shoulders, stopping people in the streets, and knocking on doors...all for the chance to tell their story through photographs.

Fangwei Xu – The Sun – 2021

The Sun is a series of works that touch on ideology and its relationship to social context, gaze, and subconsciousness, represented by various media. Ideology for me is nothing but a framework, and it requires the context of media to deliver the meaning. Humans have countless ways to explain an idea, like in China, there are multiple words to define snow, or rain, and each method of expression, each medium corresponds to a different kind of cultural interpretation: superficial or cognitive, conscious or unconscious, temporary or permanent, literal or connotative.

John Nanian –Chepiwanoxet – 2021

This thesis will explore the idea of place by trying to un-derstand what a small spit of land in Narragansett Bay called Chepi-wanoxet was before colonial ownership. After visiting the area countless times with and without a camera, I am, in collab-oration with the island and the sea around it, attempting to make drawings and light-markings, using organic and light-sensitive materials, and imperfection to show its essence and its meaning to me.

Wenshuai Shi (Ace) – Isolation – 2021

I have made a series of photographic and video works using "isolation" as the theme. From my initial project “HOME,” completed in Shanghai in 2018 and 2019, to my recent project, “My Fear Journal,” made in Boston this past year. This past year, my intention was to illustrate to the viewer not the state of my loneliness, but the process of my thinking, reflecting on isolation.

Zachary Hayes – Seeing is Believing, Looking is Loving – 2021

In Seeing is Believing, Looking is Loving, I shall discuss the internal complexities of being able to relate and empathize with others and how photography acts as a vehicle for me to be able to do these things. Here you will be introduced to I (Want To) Love You, a body of images that I have pulled from my personal catalogs of people that I choose to commit myself to.

Abigail Egan – In This Home – 2022

My thesis, titled In This Home, is about documenting experiences with my family that are reshaped by the passage of time and the evolution of technology, while navigating my conflicting ethical responsibilities to my art and to my family amidst a world of digital obsession. Sharing my art with a wider audience for the first time, this body of work investigates the layers of emotion within the family home, exploring the intricacies of loving one’s family unconditionally.

Ariana Sanchez – From Here to There – 2022

My move to New England was a complete 180 from what I had known in Florida. Once settled, I explored my new neighborhood and started photographing its characteristics, searching for ways I could connect both as a person and a photographer. There were days that I wished I could go back to Florida and experience that environment once more. Here in Cambridge I once again felt like an outsider, wondering if this was just another temporary place for me. I still don’t know. My images simultaneously represent my comfort and discomfort to where I am; to where I hope to belong. My desire for “home” is strong. It’s difficult to put down roots in shifting soil.

Jill Bemis – Homing Instinct – 2022

Homing Instinct is an exploration of walking and the physicality of film photography as it mirrors a poetic and visceral connection to the land. An ephemerality lingers within the work–a longing to experience and hold on as larger forces cause land and home to change forms. The work holds space for lightness but also defies it through an ominous representation of the cycles of loss within nature. I am especially drawn to the birds that live between land and sky, between rooted experience and unmoored wonder. I have a yearning to understand what it is like to be a bird, and a simultaneous acceptance of knowing that I never will. There is both a separation and a closeness between us. I do not pretend to understand why, but the observed experience of a bird feels wildly linked to my own returning to the marsh.

Monica Philbin – Otherworld – 2022

I began this thesis as a journey to find myself and to piece together evidence of the spirit world in my photographs to show my mom. I soon realized that it would probably be impossible to make a photograph of an actual ghost and subsequently turned my focus up on the mysteries found in my secular and manageable world. Photography has become my way to express myself and to communicate with the world.

Natasha Major – The Outpouring – 2022

The Outpouring is the title of this document that moves between memoir and musing, examining how I came to understand photography as a mediator between inner and outer life as well as how my process has developed and deepened over the last two years. Two artist books are connected to the written document: For an Anxious Mind (2021) and The Light Here and Elsewhere (2022), each is a vessel for communicating a particular feeling or an experience. The Outpouring discusses the organizing principles of each work, what led to their conception and the artists who have helped me locate my work in a larger context.

Quentin Gong – One, And Two Stories – 2022

Dramatizing what I have experienced allows me to turn my ordinary experience into a more interesting story. In this way I use my own personal life as a basis for my films. Snap Out of It and Mary were two short films I made in 2021 and 2022. These films are about ordinary people’s stories, and they are both created based on my personal life experience. We are all born ordinary, but we all have the potential to experience extraordinary lives.

Tiziana Meneghel-Rozzo – The Power of Camera-less Photography to Communicate a Haptic Experience – 2022

Through my projects, I am searching for a way to visually communicate a moment experienced in time through what it brings to light: a face, a tear, the physical act of leaving an impression or sharing an emotional gesture. I use photography as a way to connect and communicate a lived experience and to visualize bodily intimacies. In my images I like to wonder, imagine, and question what I am looking at — what I know and do not know. It is within the dark realities of a chaotic world that I, as an artist, feel compelled to respond with marks that carry meaning within them. In the two projects that follow, Haptic a nd Tears, I use a 20th-century photographic technique to focus on touch and contact, to convey meaning at the level of physical operation.

Travis Flack – Lifelong Obsession With Oblivion – 2022

As of right now, photography has been in my life for more than half the years I have lived on this planet. It has moved with me, and sometimes in spite of me, marking creative growth, existential frustration along with the very specific idiosyncrasies that I now realize are the traits that define me as an artist. In conjunction with this medium that I have chosen as a method of explanation and expression is this other entity, a need for extremes of varying intensities that I have come to realize is the driving force behind a lot of the subjects I choose. These intense experiences have broken down my existence in complex ways, making me feel like someone who is in a constant state of repair or rebuilding. Lifelong Obsession With Oblivion started out as the calculated detonation of my life in order to review it. From this exploded view the work mutated, from the very literal physical form to the figurative forensic symbolic investigation. Lifelong Obsession With Oblivion is a photographic survey about surrendering, about giving into something that completely consumes you to the point of complete, wonderful, beautiful deconstruction.

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Digital Photography Studies

From Images to Material Visual Practices

First Online: 03 March 2020

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This text presents a historical and contextual account of the study of digital photography, from some seminal texts on photography during the analogue era to the emergence and consolidation of studies on digital photography. The texts suggest the importance of developing a new agenda for material visual practices that goes beyond image-centric approaches to photography.

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Gómez Cruz, E. (2020). Digital Photography Studies. In: Friese, H., Nolden, M., Rebane, G., Schreiter, M. (eds) Handbuch Soziale Praktiken und Digitale Alltagswelten. Springer VS, Wiesbaden. https://doi.org/10.1007/978-3-658-08357-1_12

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Photography Dissertation Topics

Photography is an art form worthy of critical attention, so it’s no surprise that many Arts and Culture students choose to write a photography dissertation. In particular, the technological innovation of photography coupled with its varying sociocultural impacts has encouraged many students to want to write a dissertation on photography. But how you should you go about choosing a topic for your photography dissertation? The following sub-sections provide suggestions on the most recent trends and innovations in photography, particularly concerning technological developments, ethics, and the evolution of photography trends.

Digital Photography

Photojournalism and communications, photography, ethical, cultural, and societal perspectives, the evolution of photography, photography and global politics, photojournalism during the covid-19 pandemic.

Digital photography emerged as a technological innovation during the 1990s, and since then, it has developed into a computer mediated approach to photography. The old methods of taking pictures have, therefore, been improved and enhanced by digital technologies. Also, it has not only replaced the silicon chips and old photography methods, but it has also introduced more advanced methods, as photography has now adopted the use of information technology. This could be an interesting subject area to examine if searching for topics related to technological trends and developments in photography. Examples of topics in this area are listed below:

How has digitalisation modified the position of photography in society?
The evolution to Digital Photography and its impact on photography methods.
A review of the current technologies, cultural methods, and the social practices of snapshot photography.
How has visual reporting transformed the landscape of news reporting and journalism?
An analysis of Visual Storytelling during the current era of Post-Industrialist Journalism.

Photojournalism refers to the process of reporting using either still or changing images. The development of photojournalism has been closely aligned with evolving technological trends, and photojournalists have adopted more enhanced approaches for reporting events. Nonetheless, the major core value of photojournalism remains significant, as photojournalists continuously search for the opportunity to witness significant events and share the evidence of such events. Photojournalism also focuses on highlighting important social topics and encourages discussions about public response. Therefore, this is an interesting research area if you are fascinated with journalism and photography. Some relevant topics in this area are listed below:

The impact of Mobile Technology on the significance and role of Photojournalism in the Society.
The challenges of Photojournalism: Realism, the nature of news and the philanthropic narrative.
How has the current era of network media and social media websites impacted on the Photojournalism?
Is Digitalisation destroying Photojournalism?
Exploring the relationship between the professional values of photojournalism and the process of digital photo editing and the generation of online news videos.
Reconsidering Photojournalism: Investigating the constantly shifting work routines and professionalism of Photojournalists in the Digital Era.

Since its early days, photography has prompted several debates with regards to its ethical application and misappropriation in society. Nonetheless, the creation of images has aided in the creation and communication of cultural identity and history. The current ethical, cultural, and societal perspectives about photography would be an interesting research area. Below are some suggestions of topics related to this area of photography:

Digital age and mass surveillance: The ethical perspective of visual photography.
The Integrity of digital images: The current principles and practices of image manipulation in document photography and photojournalism.
A study on visual photography, particularly the relationship between images, objects, and general photographic representations within the cultural and social contexts.
A critique of Visual Ethnography and Cultural Representation in Photography.
Compassion, integrity, and the media: Examining current issues in cultural photography.
Image ethics: The ethical privileges of the subjects in pictures, movies, and television.
Truth or Fiction? The impact of ethical and societal perspectives on media imagery during the digital era.
Professional photography and privacy: Are the personal ethics of a professional photographer adequate?

The field of photography has evolved over the past decade, with vast technical and theoretical developments to the standards of photography since it was created in 1839. Therefore, this is an interesting research area, as it gives you the opportunity to investigate the source of a specific innovation or method and examine any historical implications. The suggested research topics in this area are listed below:

The evolution from camera obscura photography and the era of photographic illusions to the current use of modern, digital, cameras for photography.
The effect of photography on historical events, including the Civil War.
The transformation of photography: How has the development of photography impacted Law and Culture?
An examination of the realism of Landscape Photography.
How has the use of modern photographic trends transformed news reports and the recording of significant social events?
What is the impact of photography on the evolution of social media websites and communication systems?
Closing the gap between Research and Practice: The Interrelationship between Photography and Hyper-realistic Art

Considering the current visual and digital era, it is apparent that images shape worldwide events and the society’s perspectives about them. Also, factors such as television programs and photographs impact on global politics as different phenomena are viewed, including wars, economic downturns, election advertisements, and humanitarian catastrophes. Therefore, visual politics have become the norm, with the use of digital platforms across the political spectrum, from extremist recruitment campaigns to social justice movements. Thus, this is an interesting research area, with a wide range of topics. Some of these topics are listed below:

A discourse analysis of how photography can be used to support political propaganda in the United Kingdom.
How does images and photographic representations of political activities impact global politics?
An exploratory review of the discourse and subjectivity of photographs within the political landscape.
What are the political functions of images and visual artefacts?
Photography and Politics: The impact of photography in the Political world.

The current Covid-19 pandemic has become one of the most severe pandemics of this era, with significant economic, societal, and political impacts. Therefore, this would be an interesting area of research, with a wide range of topics that can be investigated. Some of these topics are suggested below:

How are leading Photojournalists worldwide documenting the resulting impact of Covid-19 on societies?
Photojournalism: What are the ethical issues of reporting the impact of Covid-19?
What are the roles and responsibilities of photojournalists during the current pandemic?
A review of the approach to news reporting by photojournalists during Covid-19 pandemic.

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Early life and education

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She was born and raised in Moscow. Her parents were mathematicians. [1]

She studied mathematics and computer science at Moscow State University. [2]

She holds a PhD in mathematics from Princeton University. [3] Her doctoral advisor was Bernard Chazelle . [4]

She served as vice president of technology at Amazon for 8 years. [5]

During her career at Amazon, she has also received 4 patents. [6]

After leaving Amazon, she became a serial entrepreneur and started a number of companies, including Hointer and Starlight Multimedia. She has served on the board of numerous companies, including Cimpress, Ferguson, X5 Retail Group . [7] [8]

She is currently the CEO of Hointer, which is a men's clothing retailer, based in Seattle . [9]

Why Film Is Better Than Digital Photography: 6 Reasons

O pinions, to paraphrase an oft-quoted line, are like cameras: everyone's got one. And there's one point of contention that all photographers argue about: film or digital—which is better?

Digital seems ideal, what with the ease of use and availability, but film is mostly superior. Here's why you need to get rid of your digital camera and replace it with an SLR that uses film.

1. Film Looks Better Than Digital

Digital photography has improved over the years, especially when it comes to smartphones. Even then, however, a better digital camera on a phone—an iPhone Pro Max, for instance—is going to cost you a lot. The main problem is that most photos look good, until you try to enhance them. Focus on a particular section and the pixels will be exposed.

Digital gives you an impression; film gives you the real thing.

This is all about size. How large do you want an image? If it's always destined to be displayed small, digital is more than enough. Updating your Facebook ? Use digital. But like it or not, film resolution beats digital when in the hands of a competent photographer.

Landscapes, in particular, are superior on film. Taking a quick shot of woodland using your iPhone is fine if all you ever want to see is how it looks in the moment. If you want more texture, more quality, film won't let you down. It's got a reliability that you simply cannot get using a DSLR. You get home and think you see a squirrel in that tree. You take a closer look. On film, you discover it's just a bird. With digital, the picture pixelates, and you'll never know what was in that tree.

2. Film Captures Color and Contrasts Accurately

In addition to the sharpness of an image captured on film, the colors are better too. Digital can make things look flat and dull, due to how light, and by extension color, is captured, impacting on the depth of field.

This has become the norm. We see stunning imagery online and figure that these companies employ professional photographers who just naturally get these shots in-camera. While that's basically true, many use Photoshop to bring out the bold colors that aren't captured digitally.

Film can capture a broader spectrum of color more effectively. The often-crisp quality of film highlights the stark contrasts, making pictures stand out more.

The quality of prints depends on the printer used too: whether you're developing film yourself or taking your camera to professionals, you're likely to get stronger and more accurate colors than if you use digital images and a printer that's best served for Word documents.

3. Digital Encourages Unnecessary Duplicate Images

Photography is all about capturing a single moment. The truest expression of that is with a single image.

Flick through your phone or DSLR. You'll find numerous shots of basically the same thing, all from slightly different angles. When on vacation, for example, it's easy to worry one photo doesn't look right, so you take another, lest you miss the moment.

But you can get a more engaging impression of whatever you're photographing with one strong image. There's an art and confidence in putting all your attention into a single picture. You don't need to do it over and over: you've put all your effort in capturing it this once. Digital breeds a culture of recapturing a shot because it's so easy. It's also pointless. You won't treasure these excesses; they'll be lost in a sea of same-old-same-old.

4. Digital Can Pointlessly Eat Up Your Time

Most of us only take photos of something nice: a party, a live event, or a vacation. Times we want to remember. They're also the times we want to live to the fullest.

We need to learn to live in the moment. Don't waste precious memories by snapping photos until you've filled a USB with thousands of images. You're taking the same image again and again. Now imagine doing that with film: it would be costly, and all your photo albums would be taken up by superfluous images of plants, insects, or your niece playing with a toy truck.

Our time is important. Don't let yours be eaten away by a hobby that should enhance your days, not take the excitement out of them.

Putting a good but not considerable amount of time into taking one photo is good training. You stop and think about composing a shot, using the golden ratio, for example . That's more valuable than numerous takes of the same thing.

5. Film Gives You More Hands-On Experience and Control

If you really love photography, film is the best way to go as it gives you more control over the whole process.

Analog is the first photographic medium and it's still in use today. That longevity is down to numerous benefits, but chiefly because the photographer is in charge. Film gives you control over shutter speed, long exposures, light, and even double exposures. The latter is when the same film is used twice, so two images are relayed over one another, which can produce the most glorious results. You can achieve some of these on digital cameras, but most people will take snaps and then amend them afterward using photo-editing software like Photoshop .

What's more, if you do everything yourself, you're in charge of developing the film too! This is the proper hands-on approach, which emphasizes the importance and reverence of photography. You won't take loads of unnecessary pictures if it's down to you to develop them in a dark room.

The fact that you have little control over digital cameras and smartphone photography can be highlighted by one important thing: battery power. SLR cameras don't need additional power banks, whereas digital requires extra battery during particularly long shoots. If you spend a day taking photographs on your iPhone, your smartphone will be running low on power, so you'll need to charge it back up before using it again. It's out of your control.

6. Film Lasts Longer

We capture moments to relive days gone by when we're at our lowest points. Photos are meant to last. Digital ones don't, however.

In theory, digital will go on longer than analog, but that doesn't take into account how storage and backup technology evolves. We might use USBs or SD cards at the moment, but they're not permanent. It's like storing your pictures on a floppy disk; try to find a PC to retrieve them! Even storing stuff on CDs is old-fashioned now.

The tech we use today—even cloud systems—will be superseded by other technological marvels, and we might remember to transfer files most of the time, but we'll lose some too, especially if a computer unexpectedly dies.

And what if there's a corrupt file? That much-loved photo is lost. Even Vint Cerf, considered one of the fathers of the internet, advises you to print out your images (via PetaPixel ).

Prints aren't perfect. Sunlight exposure, for instance, fades printed photos, no matter whether they were originally digital or film images. This is why Polaroids are literally just snapshots: they won't last. But negatives, if stored correctly (i.e. at room temperature, hidden from harsh lights), can be reused to bring your old pictures back to life. And as developing and scanning technology gets better, it'll take advantage of the film's resolution. More data can be inferred or revealed from film than a digital copy, which sticks to its quality level, no matter what.

Film vs. Digital: Which Is Better?

Yes, it ultimately comes down to personal taste. Digital takes up less physical space and can be shared more easily. The majority of us opt for DSLR without question. But film is always worth considering. The ideal scenario is, of course, having both.

So take time to appreciate the advantages of film. You don't have to ditch digital entirely, but you could at least buy an additional SLR that uses film so you enjoy the best of both worlds.

Why Film Is Better Than Digital Photography: 6 Reasons

Digital copies of old photos can keep your memories alive. Here’s how to scan them.

Long before we snapped an estimated 5.3 billion photos a day on our smartphones, people did their best to preserve lifetimes of images inside ancient albums, stuffed into shoeboxes, and crammed in closets.

Sadly, that’s where many of our most cherished moments remain – locked in dusty treasure chests just waiting to be rediscovered.

Finding them can be life-changing. But the real magic lies in restoring, digitizing, and displaying them again. I recently found that out myself.

Earlier this year, I shared a story about digitizing a lifetime of family photos in the wake of a family tragedy. It struck a nerve with so many readers that the "Today Show " just had me do a segment about it. Hundreds of you took the time to reach out and share your own stories and ask me some important follow-up questions, too.

Here are some additional answers to cracking the code on saving and sharing old photos and videos – for good.

How do I make digital versions of old photos?

Digitizing a lifetime of memories is a daunting task, and when those memories are spread across boxes of unorganized paper photos, VHS tapes, page-size prints, and sun-bleached photo albums, where do you start?

When I converted my massive photo and video collection into digital files, I went with ScanMyPhotos.com . I shipped off six cardboard boxes packed with nostalgia, and in less than 48 hours, I had over 6,000 digital photo and video files delivered to my door – along with all of my originals.

Prices vary depending on what you use but for an estimate:

Photos: 13 cents per scan or $240 per box. (A box can hold about 1,800 pictures.)
VHS: starts at $27 per tape.

We paid just $1,000 for six packed-to-the-gills boxes. Remember, this is an investment, too. Yes, it can be pricey, but you only have these physical copies, so if anything were to happen to them, they'd be lost permanently. It also takes a lot of time and energy to do on your own, so splurging could be worth it.

How to digitize old photos with your phone

If I could do it all over again, I’d do the exact same thing. But not everyone is in the same boat. Aside from the cost, you might not have nearly as many photos to digitize and some of your photos might be bent, bleached, or damaged beyond physical repair.

The good news is that there’s an app if you want to do it yourself. Actually, countless apps promise to help you digitize your photos and more – from one-click restorations to more involved DIY photo-fixing tools.

Photomyne caught my attention because it’s straightforward, fast, and free to try. Download the app to your iPhone or Android smartphone, snap a picture of your paper photo from within the app, and it’s saved forever.

The app also makes it easy to enhance the images. It can add color to faded photos, enhance faces to capture expression and crop the digital image so it’s framed just how you want it. There’s also the option to add color to black-and-white photos, though the results can be hit or miss.

It also does something that many photo digitization apps don’t even try to do: capture images from old slides and negatives. If you know anything about slide capture, you know that it usually must be done on a machine many times larger than your smartphone. Still, with an adequate backlight behind the slide – you can use a bright computer or tablet screen – and Photomyne’s backlight webpage grabs the images and turns them into digital photos.

Remember that this and every other photo-scanning app works best when scanning one photo at a time. You’ll get the highest level of detail and the best end-product. The downside is that if you have a thousand pictures to go through, you’ll need to call out sick from work for a month to get through them all. More serious photo scanning means choosing a more powerful tool.

D-I-Y Photo Scanning Station

Several options fit the bill, and the Memory Station by Vivid-Pix is a good pick. It combines a high-powered scanner and simple tools – like a thick piece of plexiglass to flatten photos perfectly – and then sends the images to the Vivid-Pix Restore software, which is free to try and costs $49.99 for the full version.

The software rewinds time on faded photos, brings the color and details out more, and enhances clarity to make them look better than ever.

The one drawback here is that there’s a learning curve for the software – which is available for both Windows and Mac computers. It’s not too bad, but plan at least 30 minutes to get the hang of it, with easy sliders and comparison tools to show you what changes you’re making and to preview the results. The Memory Station bundle, which includes the scanner and software, is another investment at $799.95 .

How do I repair photos with an app?

For quick repairs without investing in a scanner, look to MyHeritage, which is better known for its genealogy services than its photo editing. But its app is surprisingly powerful for the latter. You can use the photo repair tool online or via the MyHeritage app , and you can also try it for free.

A simple upload of the photo lets you use a one-touch repair option that identifies scratches, tears, and other physical damage that made its way to your digital image. It removes these imperfections instantly, but it can be hit or miss if you have a severely damaged photo.

If you’re already a subscriber to MyHeritage’s complete plan for $299 per year, you can access full, unwatermarked photo repairs. If not, you can either subscribe, or pay $49 per year for the MyHeritage Reminage app , which includes just the photo editing features.

If you’re super dedicated to learning this photo restoration business, Adobe Photoshop gives you all the power you need and then some. You can make the usual tweaks to brightness, contrast, color, and so on, and you can also harness the power of AI. You’ll need to supply your own scanner for this or use one of the aforementioned smartphone apps. Still, once your photos are on your computer, the possibilities within Photoshop are endless.

With the Neural Filters feature built into Photoshop, you can utilize AI-powered photo restoration. Within this broader category are three specific tools that enhance faces, reduce noise, and repair physical damage like scratches that appear on photos you’ve scanned. These are handy tools, but learning to use them can take time, and Photoshop’s $22.99-per-month fee can be a turn-off.

Digitizing your memories: Memories tied up in boxes and boxes of pictures? Here's how to scan photos easily

Gifting, sharing, and displaying old photos

Your photos are all digitized, repaired, and ready to be enjoyed in all their glory – so now what?

My first move is always to dump my pics into Google Photos . With 15GB of free storage included with your regular old Google account, there’s lots of room. If you need more, say 100GB more, it’ll only set you back $2 per month, which is a small price to pay for precious photos that live forever.

Google Photos includes new AI tools to organize your images based on any number of things, including the content of the image itself. You can group similar photos and organize them into easy-to-find albums. It also uses AI to organize photos by categories, like people, places, trips, food, pets, so that you can more easily search and find what you’re looking for later. That's a must-have for extensive photo collections.

What’s the best way to print out photos?

If a physical photo is more your thing, FreePrints is one of the first places you should head. The app and the images you order from it are – you guessed it – free, but you pay shipping, which starts at around $2. Still, it gives you up to 85 free 4”x6” prints per month delivered as quickly as a couple of days. Once you run out of free prints, head to EasyPrints , MPix , or another high-quality, low-price option and fill those photo albums.

My go-to's for photo gifts

The Mixbook app is another excellent option for showcasing your photos. You can create incredible photo books from an app on your smartphone in about 10 minutes. Books start at $16 for soft cover or $20 for hard cover.

Mixbook's app incorporates a robust AI sorter that helps with photo selection and story curation. It helps identify your best photos – even ones buried in your camera roll – and then gives you layout recommendations and suggests photo captions. You can have total creative control or let automation do some of the heavy lifting for you.

Everyone has a handful of favorite photos on their devices, and Keepsake Frames is the easiest and most budget-friendly way to get those memories on the wall where they belong. (I have ordered at least a dozen frames from here, and I love every single one.) Just upload a photo from any device, pick out the exact frame color and look you want, and take care of everything in one easy go. You’ll get your photo – or, my new favorite, the collage frames with up to 200 photos – perfectly framed and headed to your door for as little as $29.

But Aura Frame is my No. 1 go-to gift for everyone – including myself: I have four of these in my own house. You can send photos from your phone to an Aura frame, and invite loved ones to contribute from anywhere they happen to be in the world through the app. It’s Wi-Fi-connected, comes with unlimited cloud storage, and plays videos (up to 30 seconds) and live photos. It can also use AI to find the best ones, and it includes a built-in quality filter so that only the best photos appear on the frame. You can use the Aura Frame app now to instantly scan and colorize old photos and add dates. You can also use it to display your kids’ artwork. These digital frames start at $149.

Jennifer Jolly is an Emmy Award-winning consumer tech columnist and on-air correspondent. The views and opinions expressed in this column are the author's and do not necessarily reflect those of USA TODAY. Contact her at [email protected] .

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Reebok Lets You Turn Insta Pics Into an AI-Customized Digital Sneaker

Adriana Lee

Tech Tuesdays: Introducing Amazon Q + Skypad's Transition to Google Cloud

Stockx to host a sample sale in new york city with discounts up to 40% off market price, billy porter wears multi-colored lanvin curb sneakers by surgeon to annual voices gala in new york city.

Functionally the result is equivalent to AI-generated digital artwork. According to the announcement, Reebok Impact is about giving the public a way to “immortalize” photo memories.

For Reebok, it “marks an important milestone in our commitment to innovation and technology .” said Todd Krinsky, Reebok’s chief executive officer, in a press statement. “We are excited to partner with Futureverse to explore new and engaging ways to bring our brand’s ethos to a wider audience.”

Reebok Impact Ai metaverse Instagram Futureverse

The AI and metaverse firm brings expertise in digital collectibles and a track record working with major brands, from Mastercard and Warners Brothers to Authentic Brands Group , among others. This latest new project is a fitting addition to this lineup, according to Futureverse cofounder Shara Senderoff.

“Reebok Impact exemplifies the convergence of technology and fashion by fusing innovation with artistry,” said Senderoff. “By harnessing the power of AI in a simple, yet dynamic customization experience, we’re providing an immersive journey of personal expression.”

People can generate as many digital shoes as they like, four of them for free and a $7.99 fee for each creation beyond that, and share them. Given Futureverse’s DNA, it’s no surprise that these generated works are metaverse-ready as well.

Users have the option to purchase “game-ready” files that work with Fortnite’s Unreal Editor and Roblox, with future interoperability promised for other environments — such the new metaverse game Open by Readyverse Studios, another enterprise co-created by Senderoff, Aaron McDonald and Ernest Cline, creator of the Ready Player One franchise.

By bridging AI and metaverse technologies, projects like Reebok Impact manage to benefit both. The feature offers an incredibly easy way for the AI-curious to try out the tech for themselves, and inside a social media app they’re already familiar with, while showing how AI can work for Web3 and immersive virtual worlds — even during the post-hype phase of the metaverse.

In that way, Reebok Impact appears to be where multiple tech roads intersect.

That may have always been the plan. Reebok Impact is the first product of a partnership announced last year, when Reebok and Futureverse’s stated goal was to create innovative AI, Web3, blockchain-based gaming and metaverse experiences for consumers, as well as broaden engagement with product across Reebok’s ecosystem.

The implication is that all of those tech roads will lead back to actual product, suggesting that the generated digital shoes could be a blueprint or design scheme for something tangible. Or at least virtually wearable.

The companies didn’t go so far as to state that outright. But they came close: “As the popularity of avatar wearables continues to grow, Reebok and Futureverse have created an innovative roadmap to further bridge the virtual and physical worlds,” the announcement read. “In addition to designing a commemorative digital sneaker, users can discover an incentive for a sneaker purchase IRL within Reebok Impact.”

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An evaluation of the current state of digital photography
RIT Digital Institutional Repository Theses 1999 An evaluation of the current state of digital photography Charles Dickinson Follow this and additional works at: https://repository.rit.edu/theses Recommended Citation Dickinson, Charles, "An evaluation of the current state of digital photography" (1999). Thesis. Rochester Institute of Technology.
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With the emergence of digital technology, the interest in photography grew in academic scholarship, from studies that proposed a new ontology of photography (Lister 1997; Mitchell 1998) or a new "technological revolution" (Ritchin et al. 1999), to extreme statements that we were entering a postphotographic era (Ritchin 2008).What was clear, since the early studies on digital photography ...
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