Sloppy and inaccurate attribution of pictures. Method of attribution, technical and technological research and identification of cultural values, museum items, cultural heritage objects (monuments of history and culture)
On May 30, 2017, the audience got acquainted with the principles of working with home photo archives and themselves attributed the album of the Leningrad family of the 1920s - 1940s. We present the findings.
Goals and tasks set for the students:
Determine the time of shooting by the technique of printing photographs, costumes, interior details.
Determine the occupation of the characters, their marital and social status.
If possible, identify the filming location.
Album description
Album of an unknown Leningrad family of the 1920s - late 1940s. The cover is made of thick cardboard covered with brown woven fabric (leaderin). On the front cover of the album in the lower right corner there is an inscription made using the blind embossing technique Album in the style of the modern era. The binding is decorated with three black grommets that pierce through the binding of the cover on the left and the album sheets. An orange cord is threaded through the eyelets. 15 album sheets contain 109 photos pasted on both sides of each sheet (from 1 to 7 photos per page).
The photographs were printed using the techniques of cyanotype (used from 1842 to the 1920s) and silver bromide gelatin printing (from 1885 to the present).
Photo No. 1 shows a professional pencil retouching of the print. The picture shows a girl - probably the compiler of the album. Photos nos. 36, 38, 55, 72 are finely colored with watercolors or aniline dyes.
01
Photo No. 1
38
Photo number 36
36
Photo number 38
55
Photo No. 55
072
Photo №72The composition of amateur shots taken in the interior and in the open air, the choice of lighting and other details suggest that the owners and creators of the album were quite familiar with the technique of photographing and retouching.
The album contains professional (Nos. 2, 4, 5, 29, etc.) and amateur photographs. One of the pictures taken in the interior of the room shows a cord from a cable leading to the self-timer of the camera. The compositions and the presence of the same faces in the "home" and "country" photographs of the 1920s indicate that an unknown man and woman, whose photographs make up more than two-thirds of the album, changed places in order to take one or another shot from the same camera. His wardrobe trunk is visible in photo No. 54. A third of the pictures in the album are dedicated to their children - their daughter and son (possibly the man's son from another marriage), other relatives and acquaintances are present in this part of the pictures. The album and photos do not contain signatures or marks.
02
Photo #2
04
Photo number 4
05
Photo number 5
029
Photo number 29
055
Photo No. 54Attribution of filming locations carried out in class
Some of the photographs in the album were taken in the interiors of a Leningrad apartment (photos nos. 30, 103 and others show the same white fireplace); on suburban area, whose location could not be determined (Nos. 62, 73 and 74); in Peterhof (No. 18 and 55) and in the central part of Leningrad: in the Summer Garden, on the Griboyedov Canal near the Lion's Bridge and on the Neva embankments (Nos. 56–61; Nos. 83–84; 88 and others).
30
Photo number 30
103
Photo No. 103
62
Photo No. 62
073
Photo No. 73
074
Photo No. 74
56-61
Photo ## 56–61
083
Photo No. 83
084
Photo No. 84We can say with confidence that the places of their residence and walks were important for the family of Leningraders who compiled the album, since several photographs, separated by the time of creation, contain the same landscapes, for example, the square near the Bronze Horseman or shooting of the same suburban area.
For the attribution of some plein air photographs, the method of searching and dating by architectural and sculptural details of the landscape was applied. So, in the photo Nos. 18 and 55, details of the same pergolas. In the Leningrad region, similar facilities are located in Peterhof, Pavlovsk and Tsarskoye Selo. To determine the shooting location, the construction details of the pergolas of all three parks were studied: an Internet search concluded that these two photographs were taken in the Upper Park of Peterhof near the Chinese Palace. In photo No. 55, a woman is standing next to a sculpture Ilionea- in front of the pergola.
018
Photo number 18
55
Photo No. 55City shots were taken between the late 1920s and late 1940s, mostly in the central part of Leningrad, which suggests that the owners of the album lived nearby. In the background, photo No. 59, sheet 9 of the back, shows the Kunstkamera, the dome of which is surrounded by scaffolding. The restoration of the dome took place in 1947-1948 according to the project of the Soviet architect and historian R. I. Kaplan-Ingel. This information made it possible to date a number of photographs on sheet 9 of the reverse to these two years. The daughters of the owners of the album in the pictures of sheet 9 are about 3 years old.
Evidence of family relationships can serve as typical "parental" poses , and the presence in the album of earlier photographs of the child (No. 34 and Nos. 74–76). Thus, the approximate year of her birth can be considered 1944–1945.
59
Photo No. 59
034
Photo number 34
074
Photo No. 74
075
Photo No. 75
076
Photo No. 76In photos No. 41 and 45, the owner of the album with her daughter in her arms was taken on the alleys of a regular park next to the statue. Having applied the method of analyzing the image by architectural and sculptural details and conducting a search on the Internet, we determined that buildings around the Field of Mars are visible in the background, the Swan Canal is visible in the image on the right, therefore, we have lime alleys of the Summer Garden in front of us. We enter in the search query "photographs of the statues of the Summer Garden" and by the distinctive features we find the statue, currently located on the School Alley. This is a copy of the sculpture Antinous Belvedere". During the 16th and 17th centuries, the fame of this work spread throughout Europe: marble copies were ordered by Charles I Stuart, Louis XIV and Peter I.
41
Photo No. 41
45
Photo No. 45Costume attribution
In the years after the First World War, the silhouette of women's clothing changed dramatically - by 1924, the length of skirts was noticeably reduced, the corsage disappeared, the style of dresses was simplified, hair became shorter. The new fashion is based on geometric principles: the suit is clearly divided into two parts, a bodice and a skirt. By 1928, the skirt barely covers the knees. Women's clothing of that time was characterized by a waist lowered to the level of the hips, a deep neckline of the bodice, and bare arms. A wide-brimmed bonnet or a bell hat, completely covering the hair, served as an addition to the dress. The ideal is a woman with a semi-boyish figure - tall, slender, without pronounced hips and breasts. The incarnation of him was the actress Greta Garbo.
The dresses of the girl in the photo Nos. 36, 52, 55, 66 in silhouette fully meet the fashion trends of the first half of the 1920s. Thus, the earliest portraits in the album can be dated to the first half of the 1920s, i.e., the era of the New Economic Policy.
38
Photo number 36
052
Photo No. 52
55
Photo No. 5503 Photo #3
Men's clothing also confirms that the earliest photographs in the album were taken in 1923-1925. In a full-length studio portrait, we see a respectable young man of the NEP era in a white shirt with a bow tie, dressed in the fashion of this period. Shimmy boots are distinguished by a special chic - dark lacquered lower part, light upper part. Together with cropped tight Oxford trousers that barely reach the ankles and a ring on the little finger, they testify not only to the desire to follow modern fashion, but also to the presence income. The interior of the apartment is also typical for this period - porcelain knick-knacks, various styles of furniture, etc. were used in its decor.
It is rather difficult to determine the type of activity of a man - in the room on his desktop there are abacus, papers, an inkwell. Perhaps he was an accountant, an accountant or an economist who did part of the work at home.
The occupation of the woman could not be established. It can be argued that she was familiar with photography, since some of the pictures of the man in the apartment and in the open air were clearly made by her, and she also probably played the guitar.
The album is interesting both from a historical point of view and from a cultural and everyday point of view, since it is typical of its time and reflects a number of characteristic features of the narrow-minded life of the NEP era and later.
Pergola - a canopy of climbing plants to protect the passage or terrace from the scorching sun. The support of the pergola consists of repeating sections of arches, interconnected by transverse bars.
Antinous - a Greek youth, originally from Claudiopolis, a Malaysian province, a favorite and constant companion of the Roman emperor Hadrian, deified after death.Other names of this statue are known - the masterpiece of the Vatican Belvedere (Museum of Pius Clement) - Mercury or Hermes Belvedere.
Bronze sculpture of Ilionaeus (copy from antique sculpture of the 4th century BC). Ilionaeus- the youngest son of Amphion and Niobe. He became the last victim of Apollo, who avenged the insult to his mother Leto. Ilionaeus' plea for mercy softened Apollo's heart, but the arrow had already been fired from a golden bow, and, as an ancient proverb says, even a god will not stop a fired arrow.
The invention relates to a method for obtaining quantitative and qualitative data on material carriers of cultural values, museum items, antiques, antiquities, historical and cultural monuments, environmental objects, collectibles, numismatic and faleristic materials, etc. The attribution method consists of photographing an object from various angles, describing it in the form of text and measuring it. In this case, the photographing of the object is carried out together with the measuring caliber. A photo of each angle is imported into the layer of a vector graphics editor, an expert determination of control points and a point of origin is made, the distances between control points are determined and overall dimensions are determined by means of vector editor. EFFECT: simplification of the method and increased reliability. 1 z.p. f-ly.
To obtain quantitative and qualitative data on the material carriers of cultural values, museum items, antiques, antiquities, historical and cultural monuments, environmental objects, collectibles, numismatic and faleristic materials, etc.
Key words: attribution, technical and technological research, identification, model, prototype, object of comparison, caliber, qualitative data, quantitative data.
The urgency of the problem, the formulation of the problem for its solution
Preamble: There is a special class of material values - cultural values, which includes both movable objects (proper cultural values, antiques, museum items, archaeological finds, objects of extraterrestrial origin, etc.) and immovable objects of cultural heritage, monuments history and culture, objects of environmental nature.
These phenomena of the surrounding world are characterized by the uniqueness, complexity of the form of the material carrier and the variety of materials from which they are composed. The time of their existence is often not known, as well as the source of origin or the technology of creation. Most of them can be attributed to the type of "mechanical (non-living) systems" that are not capable of adapting when external influence. All this imposes a strict condition: under any impact on the object, the condition of unconditional preservation of the object must be observed, the loss of which will be irreparable. One of the main features (attributes) of a cultural value, a museum object or a cultural heritage object is the size of their material carriers. Checks of objects of the Museum Fund and objects of cultural heritage showed that the data on the sizes presented in the accounting documents do not correspond to the actual sizes of the objects. The current situation is caused by a complex of reasons.
The results of attribution, technical and technological research or identification of objects are always subjective, since they are performed on a model of a real object, a subject (operator). The use of methods for obtaining quantitative and qualitative data and methods for their processing is aimed at bringing subjective results closer to objective ones, increasing their reliability, i.e. reduce the dependence of measurement results on external environmental conditions and increase reliability (reliability - likelihood.).
But even if the methodology for obtaining quantitative and qualitative data is correct, and the measurements are carried out with the proper level of validity, the result will be pseudo-objective, like any result of the collective actions of subjects. Increasing the accuracy and reliability of the results of group actions significantly complicates the procedure for obtaining qualitative and quantitative data and increases the cost of procedures. For a significant part of the hundreds of thousands of cultural heritage objects and millions of objects of the Museum Fund of the Russian Federation, the use of group methods for obtaining quantitative and qualitative data is impossible.
As a result, virtually all objects of the Museum Fund of the Russian Federation and all objects of cultural heritage (monuments of history and culture of the peoples of the Russian Federation) either do not have precise distinguishing features or their attributes indicated in the accounting documentation are unreliable.
Problem: obtaining and accounting for the attributes of cultural values and objects of cultural heritage (monuments of history and culture) do not meet modern requirements for accounting for material values, do not allow them to be identified with the reliability specified by the owner, the attribution process is not standardized, not formalized, excludes the application of the procedure validation and other control actions.
Task: a method is needed for attribution, technical and technological research and identification of cultural values, museum objects, cultural heritage objects (monuments of history and culture), which allows to obtain a model as close as possible to a real object (object) that would allow for subsequent collation, accounting and verification actions of an object (subject) with a model obtained earlier.
Availability of analogues
Preamble: the procedure for attribution of cultural property, museum objects and cultural heritage objects does not meet modern requirements for reliability, accuracy, reliability and verifiability of the results obtained.
Task: the method should be distinguished by ease of use, economic availability of tools and software and contain low requirements for the training of personnel (operators).
Types of analogues: all known methods of assigning data when attributing similar groups of material carriers can be conditionally divided into contact and non-contact.
Contact methods are methods for comparing objects with different standards (measuring rulers, gauges, Johanson tiles, etc.) or methods for obtaining data using mechanical tools (calipers, micrometers, a simple meter, etc.). It should be noted that any data acquisition is a comparison of the prototype parameters with a certain standard. Disadvantages of contact methods:
1. Methods are not subject to unification due to the exceptional variety of objects of comparison. Often, obtaining one attribute of a comparison object requires a large number of variety of measuring instruments.
2. The measurement base of the object is required, i.e. clearly defined axes, planes, points, edges between which it is required to measure the quantitative characteristics of the attribute. The surfaces of the objects of comparison must be hard enough. But if we are dealing with a toy doll made of fabric, a costume, drapery, a ruined object, a landscape zone, etc., then there is no basis for obtaining quantitative characteristics of the attribute, since the material of the comparison object is deformed and damaged when the measuring device is touched.
3. When obtaining quantitative characteristics of attributes, an error is inevitable, caused by the subjectivity of the performer. The procedures for reducing the error, which consist in numerous repetitions of measurements by several operators and the calculation of the relative measurement error, are complex, time-consuming, require large financial costs, but are easily falsified with low moral standards.
Non-contact methods of quantitative indicators about the form of a material carrier are based on the application of the postulates of the wave theory and differ in features frequency range, which is used in a particular method.
We can distinguish the ultrasonic range, the radio wave range, the light range and the X-ray range. Various types of rangefinders and meters are known, which allow measurements to be taken at a distance of the operator from the object of comparison up to several tens of meters.
Disadvantages of non-contact methods:
1. Relatively low accuracy of quantitative indicators of an attribute (for example, the width of a crystal pendant), when it comes to small (up to a few meters) forms. An additional difficulty is created by the concepts of the beginning and end of the measured value, since the operator needs to place the emitter-receiver at the beginning and form conditions for beam reflection at the end of the segment.
2. High price instrumentation used to quantify attributes and the availability of specialized training for instrument operators.
3. The instruments used are not universal and are of little use for measurements on most of the analogs under consideration.
The closest analogue is the photographic measurement method, which is based on the shooting of an object (object) with subsequent image processing.
The first step allows you to use the Make3D v1.0 2D photo processing program to obtain 3D volumetric images.
Disadvantages: the subjectivity of the principles of selection of parameters (perceived by the operator in a modal form: color, brightness, depth, etc.) by changing the relative properties of squares (superpixels) and the strong mediation of the topographic scheme from reality. In fact, the quantitative indicators of the attribute are taken from the projection, which is the third derivative of the function from the real object. The first derivative is a photograph, which is a projection of reality onto a plane in a certain light range. The second derivative is a three-dimensional image built on the basis of a photograph according to arbitrary and subjective (not always corresponding to reality) principles.
The third derivative is a topographic scheme constructed from a three-dimensional image based on subjective criteria. The error of such a quantitative indicator of a model attribute from a quantitative indicator of a real object cannot be expressed numerically.
The second approach, based on the use of digital photographs, is based on a comparison of obvious geometric combinations of triangles, in which the measurement result is obtained by solving equations with two unknown parameters.
Advantage: ease of use.
Disadvantages: limited accuracy, since the operator needs to measure the distance from the object to the camera, which is not always determined in the production plan. The performance characteristics for optics are taken from the tables, and their true values differ from the tabular ones, which introduces an error.
The third approach is to quantify the attribute using a combination of laser scanning and digital photogrammetry techniques.
Advantages: high accuracy, the possibility of obtaining a three-dimensional model.
Disadvantages: the method is difficult to use, requires expensive equipment and even more expensive software, which is more appropriate to use in the design; an uncommon format for presenting final information.
Description of the method
By means of digital photography, a three-dimensional model of an object (prototype) is created, which consists of two-dimensional photographic images of all the necessary angles of the prototype.
The photographic image of each angle is saved as separate file. The files make up a folder consisting of:
1) photographs of model angles with a standard for comparison (caliber), i.e. caliber and model are taken together in one photo;
2) photographs of object angles that have undergone preliminary processing. Prior to photographing the angle, a caliper is placed in the frontal plane of the control point and the distance from the camera to the caliber and control point on the prototype is measured. If necessary, measure the angles of the angles and build a diagram of the location of the shooting points. Model files are exported to a universal vector editor.
Note in the editor checkpoints, the origin of coordinates, the overall dimensions of the form of the material carrier and the boundaries of other characterizing attributive features characteristic of this prototype class. A raster image transferred to a vector editor sheet and fixed on it acquires an additional property. Control points on the image are in the coordinate system of the vector editor. Each point has its own coordinates, which are attribute parameters.
By means of a drawing and graphic editor, they put down the dimensions between the points and the dimension lines and convert them to the SI system using the known caliber data. The set of coordinates from different angles, combined into a system and calculated using the original program, makes it possible to obtain a three-dimensional model of the prototype.
Attribution, identification and technical and technological research are subject to the following dependence: if an electronic photo image - O m (am, bm, cm, ... nm) is considered a model of a real-life object (prototype) - O p (a, b, c ... n) , then if there is a correspondence between the quantitative indicators of the attributes of the comparison object O ci (a i , b i , c i ..n i), a certain number of attributes (a, b, c ... n) of the model O m , the object of comparison is assigned the name of the prototype O p , where O p (a,b,c…n) - prototype, i.e. an object (object, phenomenon) of the real world, which has essential features (attributes) - (a, b, c, ... n);
O m (am,bm,cm,... nm) - model O p (a,b,c...n) , i.e. a visually perceptible object (layout, drawing, photograph, list) containing a set of quantitative and/or qualitative indicators - (а m , b m , c m ,…n m). for which there is a match: a<=>a m , b<=>b m , s<=>with m ,…,…n<=>n m ;
O ci (ai,bi,ci...ni) is the object of comparison, i.e. an object of the real world that has quantitative and/or qualitative indicators - (a i , b i , c i ... n).
We argue that obtaining essential features (attributes) from a digital photograph file (model) by the claimed method significantly improves the accuracy, reliability, reliability and objectivity in attribution, technical and technological research and identification of cultural values and objects of cultural heritage.
Since the method involves actions with the projection of the prototype, it should be taken into account that there is some loss of information about the prototype, which always distorts the idea of reality. In the case of an object of cultural heritage (cultural value), the loss of some of the essential features (attributes) can lead to incorrect attribution of the object (object), transferring it from the category of the original to the category of a copy and vice versa. The amount of distortion depends on the accuracy of the instruments used in attribution, on the conditions under which attribution is carried out (technical and technological research or identification of objects), on the qualifications of the operator performing these actions, his mental state and moral attitude.
Areas of application: Museum business, archiving, librarianship, protection of cultural heritage sites (monuments of history and culture), restoration business, technological processes reconstruction and reconstruction of cultural heritage sites and objects of natural nature, archeology, customs, criminalistics and legal proceedings, research carried out as part of an independent examination, Scientific research, trade in antiques and antiquities, collecting, educational activities.
The essence of the invention
Attribution: the essence of the method of attribution, technical and technological research and identification of cultural values, museum objects, objects of cultural heritage (historical and cultural monuments) is that the photographing of the prototype (О p) is made from different angles and in such a way that in the frame next to there was a caliber (L s) with the object, for example a ruler with divisions or an object with known dimensions.
The photographing process is preceded by the definition of the vector from the beginning of the shooting point to the frontal plane of the prototype. In this plane, the operator places the gauge (L s). In the absence of a graduated gauge, any protruding part located in the plane of the prototype (O p) is taken as such. In the case of a detached building, this can be a detail that can be measured with a tape measure and stands out in contrast in the picture (windowsill, doorway, window opening, etc.). The size is recorded in the records as a caliber.
Taken pictures are processed by any program designed for editing pictures: Photoshop, Photolmpact, etc. . At this stage, the operator performs elementary operations to prepare the frame for further use: aligns the frame on the horizon, corrects brightness, contrast and focus if necessary, crops elements of the photograph that are unnecessary for work.
After the preparatory steps are completed, the frame is saved as a file in jpg format, gets a name and is imported into the drawing and graphic editor file.
Using the tools of a drawing and graphic editor on a photo image (models O m), control points are marked that indicate the overall dimensions of the prototype object (O p) horizontally and vertically, and other control points are indicated that characterize the attributive features characteristic of this type of object. For example, for sculpture: the length and width of certain parts. For a portrait: the size of the eyes, the distance between the pupils of the eyes, the distance from the earlobe to the edge of the lips. For an object of extraterrestrial origin: points characterizing inclusions or unusual and characteristic protrusions. For buildings, these are points that characterize the dimensions of decorative and applied elements and design features, marked as a subject of protection, etc.
The more control points of the alleged attributive features will be selected, the more fully and comprehensively the model (O m) as a two-dimensional projection of three-dimensional reality will reflect the prototype - the real object of the surrounding world (O p).
The final operation is to obtain quantitative indicators of one or more attributes of the projection photo image and register them as attributes of the standard.
Drawing and graphic editor program in automatic mode will put down the dimensions between the points and the dimension lines. Conventional units of length are converted into SI units.
The result is saved as a file for subsequent attribution, technical and technological research, identification and safety check.
Necessary conditions for attribution: the number of angles for shooting is determined based on the complexity of the object, on the one hand, and the ability to accurately reproduce the conditions for repeating shooting, on the other. At the same time, a drawing of the scheme of survey points is created, distances and angles are set. As a rule, the scheme is drawn up when photographing a separate object and is saved as the original attribution parameters. When working with a turntable, the rangefinder may be redundant, and necessary condition to reproduce the conditions of the primary shooting are the angles of rotation of the table, which are recorded as the initial attribution parameters. Photographing three-dimensional objects involves at least 6 angles - four frames at 90 degrees and the image of the lower and upper parts of O m. The more repetitions of photo angles, the more complete and richer the description. But in some cases (for example, when the object has the shape of a tetrahedron), three photographs are sufficient with a difference in photographing angles of 120 °. Flat objects (paintings) must contain at least 2 angles: front and back sides. But if the item has outstanding value or special attributes, then a minimum of 6 frames will be required. It is advisable to photograph a circular panorama of the premises with a difference in the angles of photographic engraving of 15 ° for subsequent alignment into one panorama. For photographing free-standing objects, at least 4 shooting angles are required if it is an object of simple construction. With a more complex form (church cathedral, ensemble, etc.), the number of angles is determined by the operator.
Technical and technological research: is a scientific study of the material carrier. Its implementation requires a careful study of the attributes of the prototype. To this end, the model, represented by a number of necessary angles, allows you to study the prototype with more attention and in more comfortable conditions than the object in kind. By applying the magnification scale to the desired section of the model, the operator is able to similarly examine details indistinguishable with the naked eye, fixing the color, size and other signs of attributes (brands, inscriptions, patina, stroke directions, etc.). The research results are entered into a table (scientific description card) in xls format. After the study is completed, the card is printed out, signed by authorized persons, and after scanning, the file with the table is placed in the system layer of the model folder.
Identification: involves photographing the object of identification (O ci) from the same angles from which the prototype was photographed. Photos of the object of identification are placed in a file. The image is scaled in such a way that the photo images of the model (O m), which are available as confirmation of the dimensions of the prototype (O p), and the new photo images of the comparison object (O ci) coincide in most possible angles and parameters. The results obtained are compared.
Identification of a cultural heritage object or a large-sized object: O m or O ci is taken from several points No. 1, No. 2, No. 3, No. N, which allow obtaining photographic images of all angles of the object (object). In order to subsequently be able to repeat the shooting from the same points, it is advisable to fix them with marks on the ground and on the ground plan in polar coordinates. In the polar system, we determine the coordinates of these points on the ground using a theodolite, measure the angles between survey point 1 and survey points 1, 2, N (G1, G2, GN), and measure the distances between survey point 1 and survey points 1, 2, N (L1, L2, L3, LN). We perform further actions in the sequence presented in the attribution and identification sections.
Score Accuracy
When obtaining quantitative data on the material carrier of cultural values by several operators, the results usually do not coincide. Errors reach several centimeters.
If we assume that when photographing, the distance between the lens and the object is approximately 1 m, then the frontal plane of the prototype (O p) or the object of comparison (O ci), normal to the optical axis of the lens, and the plane in which the caliber is located, must be separated from each other. each other by no more than 2 mm. Whenever it is necessary to obtain accurate data on the shape of the prototype in the depth of the material carrier, i.e. behind the frontal plane, the gauge must be transferred to the plane of the control points with the above accuracy. In fact, the problem of increasing accuracy is solved by manipulating the lengths of the projections of vectors on the photo plane. Comparing their numerical values, in the presence of a number of angles, it is possible to almost unambiguously identify an object.
The allowable angular error of the alignment of the frontal plane and the gauge plane is 2.5°, i.e. deviations of the planes of the object of comparison from the planes of the prototype when photographing should be no more than 2.5 °.
With regard to obtaining quantitative data of cultural heritage objects and cultural values that do not have an explicit measurement base, the proposed method has no analogues.
List of required equipment:
1. Digital Camera: Preferably a SLR or PEN camera with remote control start.
2. Range finder.
3. A tripod for the camera.
4. Tripod for lighting fixtures - 2 pieces.
5. A tripod for a range finder.
6. Retractable rod for sources of ultraviolet and infrared radiation.
7. Background screen.
8. External (optional) flash. An external flash must be integrated into the camera computer and synchronized when determining the exposure.
9. Distributed sources of monochrome light (used instead of a flash).
10. Source of ultraviolet radiation.
11. Source of infrared radiation.
12. The table on which objects will be placed when photographing.
13. The design of the turntable contains a base and a tabletop - a horizontal plane that can rotate around an axis.
14. Caliber - a standard of length, a ruler, an object whose length is recorded in documents.
15. Stand for caliber.
16. A device that allows you to get a circular panorama (limb).
Glossary of terms
Attribute - expressed in qualitative or quantitative terms, an essential or determining feature that complements, expands in a negative or positive direction the value of the object to which it belongs.
Probability is a modal or quantitative measure of the possibility of an event occurring.
Qualitative indicators of an attribute - formal data on the type of objects of a numerical and non-numerical nature, characterizing changes in the sensations of perception of the subject (spatial, temporal, sound, color, tactile, olfactory, etc.), which are obtained in the course of correlating a homogeneous value of the prototype or object of comparison to another homogeneous value (standard), which is taken as a unit.
Book of accounting for insurance photographic images - an accounting document containing basic information about photographic images, both printed on a material (paper, glass, etc.) medium, and recorded on magnetic media. Until the moment of filling, the book must be numbered, stitched and sealed with the seal of the organization and certified by the signature of the head with the decoding of the Surname I. O. and the date of certification. Quantitative indicators of an attribute are formal data in the form of numerical indicators obtained in the course of correlating a homogeneous value of a prototype or an object of comparison to another homogeneous value (standard), which is taken as a unit. Quantitative characteristics of such attributes as the sizes of objects and objects are presented in accordance with the international measurement system - SI.
Control point - an arbitrary point on the plane of the object (prototype, object of comparison). A gauge is placed in the plane of the control point and the distance from the survey point to the control point is measured. It is advisable to indicate in the description of the conditions under which the photograph was taken, where the control point is placed. Model - a material, visually perceptible object, which is a simplified version of the prototype (object, object, phenomenon), which repeats the essential properties of the prototype, the presence or absence of which in the object of comparison allows you to correlate or not correlate it with the prototype. Modus (mode of existence) - expressed in modal or quantitative indicators, an essential or determining feature of an object (object), capable of fully conveying the original meaning of that expression (text, definition) of the object or object to which it belongs. The modus, as a mode of existence, is most closely related to the model. The object of comparison is a real world object that has quantitative and/or qualitative indicators - (a i , b i , c i ... n i).
Attribute definition - an operation to obtain the ratio of qualitative / quantitative indicators of the prototype or object of comparison to another homogeneous value (caliber), which is taken as a unit. The resulting value will be the modal/numeric value of the attribute. The goal of any attribute definitions is to obtain a formal model, the study of which could, in a certain sense, replace the study of the object itself.
When defining a prototype attribute, attribution-specific breakpoints are set of this type items. Then the coordinates of projections are determined at various angles when photographing, and an integral system of essential features (attributes) of the object is created, characterizing it with a certain degree of reliability. The ability to determine the attribute by calculating the linear dimensions of the object is one of the instrumental capabilities of the method, but is not the purpose of the considered method.
Determining an attribute empirically is carried out using various means and tools and consists of several stages, for example:
1) obtaining coordinates of characteristic features (attributes);
2) comparison of the obtained data with the data of the standard (caliber);
3) transformation into a form convenient for use.
Prototype - an object (object, phenomenon) of the real world, which has visually or tactilely felt essential features (attributes) - (a, b, c, ... n).
Layer is a term characteristic of set theory. If we take the world around us as a topological space, then it can be represented as a generalization of a metric space in which only continuity properties are perceived. According to set theory: a bundle is a continuous surjective mapping between topological spaces: π:X→B, where X is called a bundle space (or a total bundle space or a bundle space); B - the base of the bundle; P is the projection of the bundle. Layer formula: dependence F b =π -1 (b) will be considered as a layer over b∈В.
Cultural value - a certain objective objectivity, which, being in the possession of a private individual, group of individuals or the state, is represented by a universal (outstanding universal) value, where universal value is material object(object), which reveals the content of spiritual value, significant for a wide range of subjects, both individuals and various social groups(estates, corporations, religious communities, classes, peoples, nations or all of humanity).
Formula of cultural value: CC=ρα, where ρ is the degree of probability of the authenticity of the object, α is its value, expressed in the moral expectations of the expert.
Universal outstanding value is a cultural value that is significant for the world community (the definition reveals the content of the UNESCO terms - universal value and outstanding universal value).
Universal value (CC ∑), identified taking into account the realities of the social structure, can be represented in the form: CC ∑ =αρ+βq+γr (2); where α is the value of an object (object) for the state, β is the value of an object (object) for a religious organization, γ is the value (object) of an object for a corporation (estate, amateur trade union, creative association of citizens, national education of peoples inhabiting Russian Federation). The signs ρ, q, r are the corresponding probabilities of the authenticity of the object.
Expert assessments are expert opinions based on quantitative and qualitative attributes of prototypes, expressed in the form of symbols of a numeric and non-numerical nature.
Exposition - a set of cultural values located in a specific place and placed in a specific order.
Comparison standard (caliber) - a standard used to compare the attributes of objects or objects that, for one reason or another, cannot be directly compared with each other, for example, the dimensions of a prototype and the dimensions of a photographic image of a prototype. The caliber is a graduated measuring instrument or an object, the size of which is documented, which is located in the plane of the control point during the production of the image.
Attributing photos, illustrations, video or audio for sale on microstocks is the process of assigning titles, keywords, categories, and releases to files. In a word, this is a responsible and time-consuming task, on which the success of your cooperation with stocks largely depends. It is important to remember: when attributing files, all information is filled in on English language but that shouldn't scare you. With insufficient knowledge of English, you can always resort to the help of translation programs, as well as online services.
Attribution of files on various stocks, as a rule, includes the following items:
Title (File name): the file title should not consist of one or two words, the optimal size is 5-10 words. Do not write streams of unnecessary epithets that do not reflect the essence of the work. The title should be meaningful and as informative as possible. Ideally, it should contain several keywords. Tip: When attributing photos, illustrations, videos, and audio files, put yourself in the buyer's shoes. That is, imagine that you need to buy a certain work, and think about how you would describe what you are looking for. The words and phrases that arise in the mind at the same time should be used in the description of the files.
Description (Description): many photo stocks, in addition to the name of the work, offer to fill in its short description(optimally 15-20 words). The main mistake of stockers is the identical title and description for a photo stock. Some stocks, such as Dreamstime, even forbids assigning the same title and description to works. Such works are simply not sent for verification. In addition, there is often a minimum description size for photo stocks, for example, Bigstockphoto does not accept photos with a description of less than 7 words. The buyer needs to get as much information as possible about the purchased content, so you should pay special attention to the description. Here you can specify the format in which your file is presented, especially relevant when selling vector illustrations. In addition, you can specify the benefit that the buyer will receive when choosing your file, for example, specify the various options for using the file.
Keywords (Keywords): one of the most important moments of attributing photos and other files is the selection of keywords for microstock. You should not treat this process with disdain, because correctly selected keywords are the key to successful file sales in the future. Guidelines for writing keywords for microstocks:
- Make the most of your keyword limit. As a rule, photo stocks offer to register 50 keywords, don't be lazy - come up with all fifty words. All keywords should be directly related to a photo, video illustration or audio file, you do not need to write something that is not actually in your work.
- Describe not only what is in the photo or video, but also what the object does, how it looks, what mood it evokes.
- Do not use different forms of the same word (for example: joy, joyful, rejoice), choose one option. Such words only take up space in the keyword limit and do not bring any benefit, since search engines microstocks are adapted to changing word forms. In addition, in the English version, such words can have one form, so when automatically translated, you will get duplicate keywords, which is also of no use.
- Use the singular, no need to write pencil and pencils in the same keyword field. The reasons are the same as in previous paragraph recommendations.
- When uploading a series of similar works, for example, photos from the same photo session, do not assign the same keywords to them. Of course, some of the words will match in any case, but try to assign at least 5-10 individual keywords to each of these works. This will increase your chances of a sale.
- Write key phrases, especially when writing the names of holidays (for example: Valentine's Day, St. Patrick's Day), set expressions and phrases.
- Avoid getting prepositions in keywords for microstocks, outside the phrase they do not carry any informative value. Prepositions will be more useful in titles or file descriptions. Don't forget to put yourself in the buyer's shoes, think about what queries you would use to search for a particular photo or video.
It's also worth noting that there are some for sale on audio stocks.
Categories: the main type of search on photo stocks is by keywords, but often, when the buyer cannot determine exactly what should be present in the image or in the video, and cannot describe it in any specific words, he resorts to the “Categories” function. This is a collection of works on one specific topic, for example, abstraction, business, people, etc. As a rule, microstocks offer to choose 2 or 3 categories, sometimes subcategories. The most important rule when choosing categories during attribution is to only select categories that truly reflect your work. This will not only help buyers find the required file, but also ensure that you pass the verification, because the wrong categories are one of the most common reasons for inspector rejections on photo stocks.
Release (Release): attaching model releases and property releases is a necessary process when attributing photos and videos where there are recognizable faces of people or objects intellectual property. The release form can be downloaded from any of the microstocks. As a rule, stocks provide the ability to download releases not only during the attribution process, but also before downloading the files themselves. All releases are stored on the site, they can be used at any time, especially when uploading not one, but a whole series of photos with the same model. The absence of releases for those files where they are needed will be a good reason for the inspector's refusal.
In addition to the above, various photo stocks, when attributing, offer to tick off works where there are nude models, as well as editorial photos and videos (Editorial). Editorial includes files used to illustrate any significant events, as well as photos of famous people.
File attribution can be divided into two types: before loading And after loading work on microstock. And if attribution after loading is simply filling in all the listed fields, then attribution before loading needs to be discussed in more detail.
Attribution prior to microstock upload happens with the help of editor programs, in which, in fact, files are created. For example, such popular graphic editor, How Adobe Photoshop and Adobe Illustrator allow you to fill in the title, description and keywords for microstocks through the function File -> File Information. You can also write other data there, for example, the name of the author, which allows you to save and confirm copyright for images, which is never superfluous. When uploading files attributed in editors, all information is imported to the microstock site and all data is reflected in the corresponding fields. The author only needs to select categories and attach releases if necessary.
The second way of attributing before loading are special programs, allowing not only to attribute files for microstocks, but also send them directly to sites. This gives a lot of advantages, the main of which is time saving, which is especially important when working with several drains at the same time. In addition, auxiliary programs can provide other functions, such as tracking earnings and maintaining various kinds of statistics. One of the most popular helper programs for microstockers is .
Attributing files to microstocks before upload or after, whether or not to use auxiliary programs is a personal matter, but in any case, take the process seriously, because in the end it will bear fruit in the form of a stable profit.
Ministry of Education and Science of the Russian Federation
Moscow State University of Printing Arts
Faculty of Publishing and Editing
Department of Publishing and Editing
Test
in textual criticism
Problems of attribution and dating in textual criticism
Completed by: Kasikova O.A.
Gr. ZKi 5-1
no. book. РЗ 003/07
8-903-554-04-37
Checked:
MGUP
2011/12 academic year year
TABLE OF CONTENTS
Introduction………………………………………………….…… …………………..3
1. Definition of the concepts of “attribution” and “dating”….……………..………..4
2. Methods for solving issues of attribution and dating .....……………….…......7
Conclusion………………………………………………………………………….18
Bibliographic list..………………………………………………………19
Introduction
The main task of textual criticism is to give the correct text of the published literary work. The question of what is considered a "correct" or "canonical" text is not always understood in the same way. Different philological schools differently understood the ways of restoration on the basis of the remaining different editions of the text of the same work. So, until the middle of the 19th century, the exact reproduction of one manuscript, recognized for some reason as the best, prevailed in publishing technology. From the middle 19th century so-called "critical" editions are common, reconstructing the alleged prototype by contamination variants of all manuscripts available for research. Textology of the beginning XX century characterized by a very great psychologism in the approach to the question of the so-called "author's will".
The problem of establishing authorship and dating in literature is one of the oldest philological problems and is associated with the existence of anonymous and pseudonymous texts included in the field of textual criticism. This is the relevance of the topic of this control work.
Until the middle of the 15th century, when printing was invented, all works of literature remained in the form of manuscripts, which only in the most rare cases were autographs or copies reviewed and corrected by the author. Not a single autograph has survived to our time from works of ancient literature, and the authorship of the works of Platonagus and Aristotle is highly controversial: in medieval literature, almost every work had a complex text history and a number of authors, and often the oldest list that has come down to us was separated by several centuries from the time of creation of the work.
After the advent of printing, the problem of attribution and dating of texts remained, since a significant part of literary works either remains unpublished during the life of the author, or is published with inaccuracies, distortions and in different years, both due to negligence and deliberately, for example, under the conditions of censorship.
The purpose of this test: to reveal the textological meaning of the concepts of "attribution" and "dating", as well as to consider the problems of attribution and dating of the text on specific examples.
1. Definition of the concepts of "attribution"
and "dating"
Attribution (from Latin attributio - attribution) - the establishment of the author of an anonymous or pseudonymous work, and the work can be understood as any associated set of characters, including a film, picture, audio work, letter. Along with the term "attribution", science uses the term heuristic . Attribution, as we have already noted, is one of the oldest problems textology . Even in ancient times, doubts arose about the ownership of the Iliad and the Odyssey by Homer; at the end of the 18th century problems associated with the personality of Homer grew inHomeric question. In the middle of the 19th century a “Shakespearean question” arose around the anti-scientific assertion that a simple actor could not create great tragedies 1 .
Attribution is very important in the study of new Russian literature, and attribution also plays a large role in the study of ancient Russian literature, since up to the 17th century. handwritten essays were distributed, as a rule, anonymously. Often they are multi-layered compilations in which it is impossible to separate one author (or in general the “scribe” who worked on the text) from another, to single out independent works previously included in it from the whole, or to remove the layers superimposed on the fundamental principle. Attribution data is taken from the content of the text, revealed as a result of deciphering the signature or other mention of the author's name, sometimes encrypted in cryptography or acrostic . The study of the ideology of the author of an anonymous work can provide material for attribution only if all the features of the ideological life of a given era are fully taken into account, when those peculiar aspects are identified in which the author's personal position is most clearly visible. Finally, for attribution in ancient Russian literature, one can use the results of stylistic analysis. The historical process has a slow and, to a certain extent, limited effect on the language. There is a relative independence of the language. But at the same time, it is in the forms of language that all the most important changes in a person's life are recorded. When reading a text, it should be borne in mind that with the development of a language, its morphology changes. An important condition for an error-free reading of the source text is knowledge of the terminology of the historical period when it was created. Some words had many meanings, others could cease to exist in the future. Among the obsolete vocabulary, there are historicism words that disappeared from the language as a result of the loss of reality itself, and archaism words that were displaced in the process of language development by other words that became the only names for these objects, phenomena. Historicisms, for example, include numerous names of legal and clerical documents of the Middle Ages (“vyrok”, “indicated”, etc.), ancient measures of weight and distance, etc. 2 .
As a rule, the search for attributional arguments is carried out in three main directions: the discovery of documentary and factual evidence, the disclosure of the ideological and figurative content of the text, and the analysis of language and style. Documentary sources of attribution include autographs , lists of works compiled by the authors and persons close to them, correspondence, diaries, memoirs of the authors and their contemporaries, documents stored in the archives of editorial offices, the censorship department, etc. A lot of factual data is often contained in the work itself: facts from the author’s biography, mention other of his works, persons known to him, places he visited, events in which he participated, etc. Based on the discovered documentary sources, the authorship of A. S. Pushkin in relation to the Gavriiliada was confirmed, early works of N A. Nekrasov, the corpus of articles and reviews by V. G. Belinsky, N. A. Dobrolyubov, M. E. Saltykov-Shchedrin and others has been significantly replenished.
There are cases when authors made efforts not to leave documentary evidence of their authorship (this applies, for example, to works of revolutionary or anti-government content); moreover, there may be documents coming from the author and denying his authorship. In such cases, attributional arguments have to be drawn from the text itself, from its ideological and artistic content, from a concrete comparison of the ideas of an anonymous composition and those that undoubtedly belong to the alleged author of the texts. An example of attribution based on the main processing of the ideological analysis of the text is the work of B.P. Kozmin "The Resurrected Belinsky", which proves that Dobrolyubov belongs to a sharp political pamphlet - a letter to N.I. Grech. Many articles and reviews by Saltykov-Shchedrin were found and attributed by S. S. Borshchevsky, who applied the method of literary-ideological and textual parallels 3 .
An attribution technique based on the analysis of language and style is being actively developed. The desire of F. E. Korsh in this way to attribute to Pushkin the ending of The Mermaid written by D. P. Zuev (1889) led to the discrediting of this method. However, the latest attempts to develop and substantiate an attribution technique based on the analysis of language and style are of undoubted scientific interest 4 .
These are the three main lines of search for attributional arguments. However, only a comprehensive use of all the arguments that are revealed in the process of searching in all three directions can give a really indisputable attribution.
Works that cannot be recognized as indisputably belonging to a given author are considered conditionally owned or attributed to him; in scientific publications they are placed in the section "Dubia" (from Latin dubitare - to doubt, to hesitate) 5 . A special case of attribution is athesis - the denial of belonging to a given author of works previously attributed to him.
One of the most important problems of textual criticism is dating. Dating is the establishment of the time of creation of a work, one of its editions, a list, etc. Extreme dates or intermediate moments of the creative process can be determined. Most important is the time when the idea was born, when the writing began and ended, and the date of the first publication. Dating can be done with varying degrees of accuracy, it can be absolute (calendar) and relative. If exact dating fails, then the extreme chronological limits (“terminus post quem” and “terminus ante quem”) are determined. Dating sources are direct and indirect evidence found both in the content and style of the text itself, including indications of language, spelling, etc., and beyond it - in diaries, letters, memoirs, other works, and so on. Significant paleographic data: the material of the manuscript or book, watermarks (filigree) of paper, the nature of handwriting, printing, etc., as well as textual argumentation: the relationship of the list with other lists and editions of the same work. Methodologically, dating is in many ways similar to attribution , is often associated with it and is inseparable from the reconstruction of the complete history of the dated text, in which the correct dating should find its confirmation 6 .
When dating a source, you will have to solve three problems each time:
1) Scale selection problem.
In chronology, various systems of absolute dating and methods of transferring dates extracted from sources from one scale to another are considered well established. For example, dates “from the creation of the world” in Russian chronicles are translated into dates “from the Nativity of Christ” by simply subtracting the number 5508 from the chronicle date (however, in some cases, 5500, and 5509, and even 5510). At the same time, no convincing justification for such a date translation algorithm can be extracted from anywhere. Indeed, one cannot seriously consider that the famous decree of Peter I on the transition to the chronology from the Nativity of Christ should serve as such an algorithm - after all, the decree deals with the translation of current and future dates, and the dates contained in chronicles and other ancient sources, nothing is said there. Where is the confidence that chronicle dates have always been counted “from the creation of the world” and that throughout these datings the date of the “creation of the world” has always been separated from the date of the “Birth of Christ” by the same 5508 (with a slight plus or minus) years? 7An even more difficult situation is with the translation of medieval Western European and especially ancient dates into the currently accepted scale.
2) Date interpretation problem.
Another problem facing a researcher who undertook to date the source he is studying is the problem of correct interpretation of the date recorded in the source. The fact is that dates in sources, especially in ancient ones, can be written in a completely different way than we are used to writing them today and over the past two to three hundred years. In any case, before the ubiquity of the so-called Arabic numerals, dates (and numbers in general) were written in a variety of ways - from Sumerian cuneiform signs to letters of the usual alphabet, highlighted by titles. In Russia, the tradition of alphabetic notation of numbers persisted for a very long time and was finally supplanted by Arabic numeral notation only in the 19th century. At the same time, very often these records look very ambiguous, which ambiguity is exacerbated by the use of extension letters, the inscription of different letters in very similar graphics and, conversely, the same letter in different ways, etc. Finally, there is no complete certainty in the question of mutual one-to-one correspondence of letters-icons and digits-numbers designated by them.All these issues do not bother historians who confidently read dates from ancient manuscripts. For example, the date in “The Teaching of How to Know to Man the Number of All Years” by Kirik Novgorodets is confidently interpreted by historians as 6644 from the creation of the world, i.e. 1136 from the Nativity of Christ, and the entry on the sticker on the inside cover of the Gennadiev Bible allows the same historians to confidently date it to 7007 (i.e. 1499) year 8 .
And yet, it would be nice to be conclusively convinced that the modern reading of these records corresponds to the understanding that was invested in them when they were written.
3) The problem of the reliability of the scale and date.
But even being sure that we managed to correctly interpret the date recorded in the source, correctly understand the time scale in which the date is recorded, correctly translate it into the now accepted chronology, even if all these conditions are met, one cannot be completely sure that the received date has the property of certainty.Firstly, when putting down the date, the chronicler could make a mistake, secondly, he could also deliberately distort his own chronological indications (i.e., his dating indications must be treated with all necessary caution), thirdly, he could use in his chronicle with such a time scale, the reliability of which is doubtful (for example, from the founding of a city or from the inauguration of a certain pope, the dates of which events cannot be independently verified), fourthly, it is the chronology of the source that could be distorted when it correspondence-editing-compilation and so on.
That is, when working with dating, it is necessary to solve the problems of source criticism in the same way in full and as comprehensively as possible, and only under this condition can we get at least some reliable dates.
2. Methods for resolving attribution issues
and dating
When determining the dates of a work and its editions, one should especially pay attention to the counts available in some of them from the time of one or another event being described to "our time", that is, to the time when the author or editor worked. Usually the scribe who simply rewrote the text mechanically kept the date, but the editor who reworked the text "updated" it too. Therefore, such counts of years "before our time" are very indicative, and the textual critic is obliged to give them an explanation.
Dating signs are also mentions in the manuscripts of the names of Russian saints, the time of canonization of which is known, and the titles: Grand Duke, Tsar, Archbishop, Archimandrite, Patriarch. So, for example, if we meet the addition of the name of the Moscow Metropolitan Alexei "new Russian miracle worker", then this will mean that the text refers to the time after
1431, when his relics were found, but no later than the middle of the 16th century, since the expression "new" could not last long. The title "Grand Duke" appeared in Rus' no earlier than the 13th century. The royal title was approved by a patriarchal charter in 1562. The patriarch appeared in Moscow in 1589. The lords of Novgorod received the title of archbishop in the middle of the 12th century. In the Solovetsky Monastery, an "archimandrite" was established in 1561. Information of this kind is necessary for a textual critic. Using them makes it possible to date the texts with relative certainty 9 .
Dating indications include information about a particular person as living or dead. Knowing the date of death of this person, it is easy to see in this information indications of the time when the monument could have been created. Information about various phenomena of history, the history of culture, the dating of which is known to us, can serve as such indications.
Chronological calculations inside the text of the translated monument on this or that occasion also help to calculate the time of its translation into the Slavic language. Sometimes a misinterpretation of a text or incomplete information about its sources can lead to errors in dating.
In some cases, direct indications in third-party monuments are essential for dating the appearance of a particular work.
Traces of the influence of the work under study on other dated monuments are of great dating importance. So, for example, at the beginning of the study of the Prologue, when the question of the time of its translation was unclear even approximately, I. I. Sreznevsky's indications of traces of acquaintance with him in the Novgorod Chronicle under 1212 were of great interest
In some cases (especially if the content of the monument does not give any clues) it is necessary to resort to very complex considerations in order to date the monument. So, N. A. Baklanova dates the Tale of Yersh Ershovich to the end of the 16th century, using the following materials for evidence: she explores the terminology of the trial in the Tale, reveals a number of old terms, considers the technology of conducting the trial, notices that he was accusatory, not adversarial, which is typical only starting from
17th century etc. 11
etc.................
In order for your images on stock to bring you the first well-deserved million of money, they must not only be made, but also correctly attributed, i.e. write keywords and title. That's what we'll talk about today.
The first thing that often scares a beginner is that all attribution is in English. Those who have no language problems can skip this advice. I’ll tell the rest - the devil is not so terrible .. For non-English speakers, there are quite convenient online translators. Single words and small phrases are usually translated quite correctly. At one time I used Promt, now I switched to a translator from Google, for me it works better.
So, let's first consider the principle of describing a photo using several examples (for convenience, I will write the keys in Russian)
In order to train in the correct selection of keywords, put yourself in the place of the buyer and imagine that you need to find a picture similar to yours. What keywords would you search for?
Example #1 landscape
We write: sea, pine, rocks.
Here is the location of the shoot: Crimea, New World, Cape Kapchik. Royal bay.
Now we denote the shooting time: dawn, early morning, summer.
Adding the genre of shooting, the orientation of the photo and the absence of people in the frame: landscape, nature, nobody
Additional words: tourism, travel, tourist attraction, peace, quiet. In principle, you can write associative words in additional words, the main thing is not to overdo it so as not to be rejected for spam in keywords.
Example #2 city
What are we looking for (i.e. the main subject): Basil's Cathedral, Church of the Intercession on the Moat
The shoot place: Russia, Moscow, city, capital, Red Square
Shooting time: night, twilight, evening, winter
Shooting genre, photo orientation: cityscape view, cityscape, horizontal
Additional words and clarifications: tourist attraction, tourism, tourist attraction, ancient, historical, pedestrian crossing, dark, lanterns, space for text, etc.
Example #3 photo with people
What we are looking for (main object): child, baby, infant, toddler, toddler
Posture, age, what one is doing, emotional state, ethnicity: girl, sits, half a year, rejoices, cheerful, looks to the left, holds a ladle, plays, toddler, European, caucasian (as people with white skin are designated)
The shoot place: house, kitchen, kitchen table
Cloth: chef's hat, fortuk, white,
Additional description: vegetables, cooking, etc.
So, general principles photo descriptions:
1. If in the photo scenery: indicate the main object of shooting (sea, field, forest, etc.), season, time of day, orientation, if the landscape is tied to a specific area and it is recognizable, then be sure to indicate this, weather conditions (sunny, cloudy, overcast, etc. ), the absence or presence of people, the point of shooting, for example, if they were shooting down the mountain, the genre of shooting (landscape, nature).
2. If pictured urban view: be sure to indicate the exact name of the main architectural object (if it is in the frame), city, country, some other important geographic or topographic references, season, time of day, orientation, weather conditions, absence or presence of people, shooting point, not forgets words like tourist attraction, tourism, shooting genre (urban view, cityscape, architecture, city)
3. If pictured person people: indicate gender, age, number of people in the frame, ethnicity / skin color, what they are doing (standing, walking, running ..), emotional component (joying, crying, smiling ..), how the person is depicted (full height, portrait) , direction of gaze, if the photo is a portrait, then write the color of the eyes, describe the clothes (at least the main elements, small details are not needed), hair color, if the man has a mustache or beard, you should also note where the picture was taken (house, street, shop, forest..)
4. If pictured plant or animal/bird/fish: indicate the exact name (it is also very desirable to find the Latin name of the subject), describe the color / color, location (if filmed at the zoo, but it is not visible in the frame, then it is better not to write), if filmed on the street, then write the time year and weather conditions, indicate the usual habitat of this type of animal or plant (for example, if the photo is a giraffe, then we write Africa), the shooting genre (nature, animal, plant, zoology, botany)
5. If pictured isolated object: name of the object, description of the object (type, color, shape, etc.). If the object/subject is shot on a white background, you need to add the phrase ‘white background’ to the list.If the object/subject is shot against any other solid color background, you need to add the phrase ‘neutral background’ to the list
What not to write:
your name / surname, the names of the models, the nicknames of your pets, topographical names that do not play a significant role (i.e. it is not necessary to write in a photo with a village view that this is the village of Gadyukino), extra words that have nothing to do with this photo.
To facilitate the selection of keywords, there are different services. Today I consider for myself the maximum convenient service Shutterstock
Open it, enter the main keyword for your picture and get a selection of photos. Choose from them at least 3 (and preferably more) as similar as possible to yours
Click on the red button at the bottom of the page and get a selection of keywords. It consists of three parts. At the top - the most popular words, in the middle - less popular and at the bottom are very rare. See upper part and remove from it all unnecessary words in your opinion, they move to the middle part. Then, from the middle and bottom parts, you can select suitable words and add them to the top. When everything is ready, press the red button and copy the selected words into your photo.
It remains only to add (if necessary) some clarifying words and that's it .. But in any case, as they say, "hope for the service, but check everything"))
The minimum number of keywords that stocks require is -10, the maximum that is allowed is 50 (on Dreamtime 80). All words must be separated by a comma, if the keyword contains a phrase, for example, Red Square, then we do not separate it with a comma.
It remains the smallest thing - to write the name of the photo and description.
Here, the approach of stocks is different. For example, Shutterstock and Photolia use data from the "Description" field instead of the name, Dreamtime requires both the name and description.
I usually write descriptions based on Shutterstock. According to their advice, it is desirable to use the most basic keywords in the title.
For example, for a photo from example No. 1, the name can be like this: Morning Crimean landscape, in the foreground a pine tree, in the background the sea and rocks
For photo #2: Basil's Cathedral on Red Square in Moscow at winter night
For photo #3: A little girl in a cook's outfit sits on the kitchen table, fresh vegetables lie nearby
If you have a series of photographs with a similar plot, then with the same keywords it is desirable to give names at least a little but different from each other.
Hope the information was helpful.
Do I need to make a post on the technical side of adding metadata to a photo?
