The Complete MRCP is a series of 3 books that cover the whole of the written section of the Part 1 and Part 2 exams for the College of Physicians qualifications. All three books were originally written by registrars and senior registrars, all of whom wereclosely involved in Membership-level teaching. As a result they are the books most highly regarded by those preparing for the exams and they are essential for all those taking the qualification. The MRCP itself is a very difficult professional qualification. It is jointly organised by the three UK Royal Colleges of Physicians - Edinburgh, Glasgow and London. The format of the exam is constantly changing to reflect the patterns of medicine and roughly 4000 candidates apply to take the MRCP every year. Thisbook covers the 3rd element of the Part 2 MRCP exam - colour photograph questions. It contains 150 colour illustrations covering a wide range of clinical conditions with related questions which are in the form encountered in the exam itself. The photographs inclue radiographs, blood films and pathological examples. The questions give a certain amount of relevant history to help the candidate make the most appropriate diagnosis. The answers are very detailed and should aid the candidate in revision.

The new, completely updated edition of the aerial photography classic Extensively revised to address today's technological advances, Aerial Photography and Image Interpretation, Third Edition offers a thorough survey of the technology, techniques, processes, and methods used to create and interpret aerial photographs. The new edition also covers other forms of remote sensing with topics that include the most current information on orthophotography (including digital), soft copy photogrammetry, digital image capture and interpretation, GPS, GIS, small format aerial photography, statistical analysis and thematic mapping errors, and more. A basic introduction is also given to nonphotographic and space-based imaging platforms and sensors, including Landsat, lidar, thermal, and multispectral. This new Third Edition features: Additional coverage of the specialized camera equipment used in aerial photography A strong focus on aerial photography and image interpretation, allowing for a much more thorough presentation of the techniques, processes, and methods than is possible in the broader remote sensing texts currently available Straightforward, user-friendly writing style Expanded coverage of digital photography Test questions and summaries for quick review at the end of each chapter Written in a straightforward style supplemented with hundreds of photographs and illustrations, Aerial Photography and Image Interpretation, Third Edition is the most in-depth resource for undergraduate students and professionals in such fields as forestry, geography, environmental science, archaeology, resource management, surveying, civil and environmental engineering, natural resources, and agriculture.

Principles and theories of photo interpretation; An explanation of aerial-photographic interpretation; Origin, landform, rock type; Surface-drainage patterns; Erosion features; Gray tones (also use of infrared, camouflage, and color film); Miscellaneous elements; Background - training, experience; Final interpretation; A lexicon of geomorphology and landforms as seen by the aerial photograph; Fluvial landforms; Marine and lacustrine landforms; Glacial landforms; Glaciofluvial landforms; Aeolian landforms; Organic-mineral complexes; Rock types; Applications of aerial-photographic techniques to the various fields of earth science; Applications of aerial-photographic techniques to engineering; Applications of aerial-photographic techniques to engineering; Application of aerial-photographic techniques; Aerial photography and geophysics; Applications of aerial-photographic techniques to agricultural surveys; Applications of aerial-photographic techniques to forestry, botany, and ecology; Applications of aerial-photographic techniques to urban, regional, and military studies; Some practical considerations and miscellany.

Emphasizing the understanding of images and their influences on how they affect our attitudes, beliefs, and actions, this fully updated sixth edition offers consequential ways of looking at images from the perspectives of photographers, critics, theoreticians, historians, curators, and editors. It invites informed conversations about meanings and implications of images, providing multiple and sometimes conflicting answers to questions such as: What are photographs? Should they be called art? Are they ethical? What are their implications for self, society, and the world? From showing how critics verbalize what they see in images and how they persuade us to see similarly, to dealing with what different photographs might mean, the book posits that some interpretations are better than others and explains how to deliberate among competing interpretations. It looks at how the worth of photographs is judged aesthetically and socially, offering samples and practical considerations for both studio critiques for artists and professional criticism for public audiences. This book is a clear and accessible guide for students of art history, photography and criticism, as well as anyone interested in carefully looking at and talking about photographs and their effects on the world in which we live.

"Examines three projects in late nineteenth-century scientific photography: the endeavors of Alphonse Bertillon, Francis Galton, and Etienne-Jules Marey. Develops new theoretical perspectives on the history of photographic technology, as well as the history of scientific imaging more generally"--

Photography, Photographic Arts and the Visual Research Process in Qualitative Inquiry is a book that introduces doctoral students and early career researchers to photography as a significant dimension of visual qualitative methods. It examines the potential of photographic arts in qualitative research by highlighting theory and practice. Theories of photographic research and the types of photography within the genre are presented along with tips and exercises on how to conduct visual research through the use of photography. The central features of this book include learning to incorporate photography and photographic thinking through the arc of the research process. Question posing, data gathering, data analysis, and presentation and dissemination of photographic research ae discussed. Ethics for photographic qualitative research is discussed. Learning to consider all senses for visual analysis and to consider issues of power and equity in photographic research is explained. Readers of this book can practice different ways to think about photographic research through the exercises and tips offered at the end of each chapter. Graduate students and early career researchers who are interested in qualitative research will find this book valuable to learn and experiment with photography and photographic arts in visual qualitative research.

Theorists critique photography for ÒobjectifyingÓ its subjects and manipulating appearance for the sake of art. In this bold counterargument, John Roberts recasts photographyÕs violating powers and aesthetic technique as part of a complex Òsocial ontologyÓ that exposes the hierarchies, divisions, and exclusions behind appearances. Photography must Òarrive unannouncedÓ and Òget in the way of the world,Ó Roberts argues, committing to the truth-claims of the spectator over the self-interests and sensitivities of the subject. Yet even though the violating capacity of the photograph results from external power relations, the photographer is still faced with an ethical choice: whether to advance photographyÕs truth-claims on the basis of these powers or to diminish or veil these powers to protect the integrity of the subject. PhotographyÕs acts of intrusion and destabilization constantly test the photographer at the point of production, in the darkroom, and at the computer, especially in our 24-hour digital image culture. RobertsÕs refunctioning of photographyÕs place in the world is therefore critically game-changing, as it politically and theoretically restores the reputation of the art.