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Photo psychology or photopsychology is a specialty within psychology dedicated to identifying and analyzing relationships between psychology and photography. [1] Photopsychology traces several points of contact between photography and psychology.
In the philosophy of mind, neuroscience, and cognitive science, a mental image is an experience that, on most occasions, significantly resembles the experience of "perceiving" some object, event, or scene but occurs when the relevant object, event, or scene is not actually present to the senses.
View of a frame-maker's workshop, oil on canvas, circa 1900 The elaborate decoration on this frame may be made by adhering molded plaster pieces to the wood base.. A picture frame is a container that borders the perimeter of a picture, and is used for the protection, display, and visual appreciation of objects and imagery such as photographs, canvas paintings, drawings and prints, posters ...
Picture 2. An image showing a 10-degree frame angle and a 7-degree rod angle. Observers using the apparatus see the rod as vertically oriented. The frame of the page, image border, etc. make it appear tilted here. The frame of reference with respect to studies of the visual system refers to perceived reference axes. In the rod and frame ...
This long-exposure photograph of moths flying around a floodlight shows an exaggerated "rod" effect.. In cryptozoology and ufology, "rods" (also known as "skyfish", "air rods", or "solar entities") are elongated visual artifacts appearing in photographic images and video recordings.
The use of the term in psychology entered English with the translation from German ("Valenz") in 1935 of works of Kurt Lewin.The original German word suggests "binding", and is commonly used in a grammatical context to describe the ability of one word to semantically and syntactically link another, especially the ability of a verb to require a number of additional terms (e.g. subject and ...
Pentax F 17–28 mm f /3.5–4.5 Fisheye – This lens was born for 35 mm full frame film cameras, to take the place of the 16 mm f/2.8 in the AF era. It starts from a 17 mm full-frame (diagonal) fisheye. When it reaches 28 mm, the fisheye effect is almost gone, leaving an overdistorted wideangle image. It was intended as a "special effect ...
The big-fish–little-pond effect (BFLPE) is a frame of reference model introduced by Herbert W. Marsh and John W. Parker in 1984. According to the model, individuals compare their own self-concept with their peers and equally capable individuals have higher self-concepts when in a less capable group than in a more capable group.