With regard to representative characteristic and communicative nature of PHOTOGRAPH, and on the other hand, expressive and esthetic capabilities of PHOTOGRAPHy, it can be stated that as human being uses language in various ways and thus creates one of the linguistic types, i. e. prose, verse, and poem, the PHOTOGRAPHer is also able to create photos with functions and qualities similar to linguistic types by using his intellectual and emotional faculties and with the help of technical facilities and expressive capabilities of the camera and photo edit. In other words, PHOTOGRAPH, just like language, can adopt the functions and roles of citation, communicative, soliloquist, and artistic. Therefore, the aim of this research is to compare photo with the linguistic types. Also, the raised research question is that by what factors a PHOTOGRAPHer can create photos similar to linguistic types? The method of this research is descriptive-analytic and comparative, and information collection is librarybased. The results of the research indicate that some characteristics of linguistic types can be identified in photo; in the way that some photos have the functions of referential, reportorial, and citation just like prose and convey some information to the audience. Some other, similar to verse, give the audience a visual enjoyment due to their form, and another category like poetry has ambiguous quality and makes the audience to think and contemplate. Drawing on frame (horizontal or vertical), angle (up, low, left or right), as well as other expressive functions of camera (aperture, shutter speed. . . ) on the one hand, and different photo editing features (low or high contrast, color temperatures and … ) on the other hand, the PHOTOGRAPHer can capture photos with various features and modes.

Introduction: The craniofacial anthropometric ratios are very useful in sciences such as dentistry, maxillofacial surgery, developmental studies and plastic surgery. The manual method of analyzing facial PHOTOGRAPHs requires a lot of time and precision. The aim of this study was to introduce an application tool that fully automates the analysis of facial PHOTOGRAPHs and compare it with the manual method. Materials & Methods: In this cross-sectional study, the database consisted of 395 profile PHOTOGRAPHs, 271 frontal PHOTOGRAPHs in smile and 346 frontal PHOTOGRAPHs at rest. A two-stage fully convolutional network architecture was used for landmark detection. Two methods of manual and automatic analysis were compared in the measurement of 8 variables, including buccal corridor space, ratio of the height of the middle to the lower third of the face, total facial convexity angle, facial convexity angle, nasofacial angle, mentolabial angle, and nasofrontal angle. The agreement between the two methods was evaluated using the paired T-test and intraclass correlation coefficient (ICC). A value of p<0. 05 was considered significant. Results: For total facial convexity (P=0. 005), nasofacial (P=0. 001), and nasolabial (p=0. 02) angles, the difference between the two methods was significant. However, no significant difference was found between the two methods for facial convexity, mentolabial, nasofrontal, buccal corridor space, and the ratio of the height of the middle to the lower third of the face no significant difference was observed between the two methods. The ICC for all variables was found to be greater than 0. 69 except for the nasolabial angle. For most of the measured variables, the accuracy of the automatic method was similar to that of the manual method. Conclusion: Machine learning has the potential to be used in clinical soft tissue analysis. It offers the ability to perform reliable and repeatable analyses on large image datasets.

This study involves analyzing the interaction of PHOTOGRAPHy and literature in conjunction with each other. Researchers have already compared PHOTOGRAPHy with painting or cinema, but the relationship between PHOTOGRAPHy and literature is not addressed properly. This relationship goes back to the days of the invention of PHOTOGRAPHy and has been evolving since then. With this intention, after describing the various aspects of the relationship between PHOTOGRAPHy and literature in the world and Iran, the focus is on printed books in which a conjunction of PHOTOGRAPHy and a kind of literary writing can be observed. In this research, documentary method for data collection and descriptive-analytical method for analyzing the samples have been used. The scope of this research includes the books published in Tehran from 1385 to 1395. Samples have been chosen selectively.In this study, it has been attempted to discover the specific features of PHOTOGRAPHs which were chosen to be juxtaposed with literary texts. Theories of "intertextuality" and "nature of PHOTOGRAPHs" have been used to analyze the samples and reach a conclusion. The intertextual attribute of the texts (in this case, the literature and the photos) allows them to be juxtaposed with each other, and the result of this conjunction is a new text and a new meaning. The findings of the research show that among the four levels defined in the theory of "the nature of PHOTOGRAPHs" for a photo, (namely physical level, level of presentation, mental level and mental design), an active and generative "mental level" is in common between all the PHOTOGRAPHs which are selected to accompany literary texts. In this accompaniment, the main elements of the "mental level" of the PHOTOGRAPH can also be found in the theme of the literary text

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The history of Iranian PHOTOGRAPHy is not isolated from the other aspects of the history of this country. In spite of its noticeable importance of this history in understanding the developmental process and orientations of Iranian PHOTOGRAPHy, it has been really neglected in the conducted studies, to date. Most of the existing documented studies include chronological historical records of the early decades and aesthetic-philosophical researches in the recent decades; and very few studies have dealt with the social and political history of PHOTOGRAPHy in Iran. Moreover, it can be said that there are a few researches in the Iranian PHOTOGRAPHy considering various aspects of its historical background with a clear conceptual framework and a recognized perspective.For sure considering the “politics” context that has had a determinative role in historic procedure of Iran and “social” context that has been an opposite polarity of politics can make appropriate view to read out this history; therefore, a qualitative and critical analysis study on part of history of Iranian PHOTOGRAPHy, at probing the basic sociopolitical structures in a concrete documented -and not abstract- manner, is necessitated. For this goal, history of Iranian PHOTOGRAPHy, in Pahlavi period, is seen from window of “discourse” and “discourse analysis”. Conceptual and methodological framework of this paper is based on “Michel Foucault`s”ideas. So the purpose of this article is “genealogy”of PHOTOGRAPHic discourse in Pahlavi era and also survey on “Ideological” role of PHOTOGRAPHy in that period. It is also tries to proceed to plat of this discourse for “power relations”, “subjectification”, and “objectification” naturally. The main question is “What discourse and how is it formulated in this period? And also what is the relationship of this discourse and power”? Author in a historical process, from the Qajar to Pahlavi era, proves that “social discourse” With a variety of structural changes, which are more in the scope of “politics”, at this period of the history of Iranian PHOTOGRAPHy, has been formed and dominated. This was because of a modern government with a modern political procedure that tried to implicitly obtain its follower`s approval. What is important in this procedure is the process during which the “politics” becomes more “rational” and “hegemonic” as sitting behind the social issues in that period. PHOTOGRAPHy was able to play ideological role in this process for political issues as representational media by the means of promotional, personal and personnel practices.PHOTOGRAPHy was also the best media to represent middle and burgess class which had formed in that period and had attracted special attention of the new government to itself. “Identity”, is an important construction that will be noted as well, the identity presented in the human face and facial expressions in “PHOTOGRAPHs”; and this is what making human the “subject” and “object” of the existing power relations in the fabric of society- the society in which social issues, besides its cultural, economic, and the other components have undergone specific rotations turning them from a particular simplicity into a certain level of complexity.

The PHOTOGRAPH occupies a prominent position for the modern human, so we see him trying to control it for certain goals. The image is one of the necessary means of expression in the process of human communication. The PHOTOGRAPH was able to touch the feelings of the addressee through symbols within the visual language and address the subconscious mind. From here, the relationship between her and the fictional art began by intrusion into the features of the literary text open to other arts. The integration of the written language in the visual language represented by the PHOTOGRAPH in a unified formula requires us to stand on two semantic fields related to the visual and linguistic format. The PHOTOGRAPH is the supporting tool for the narrative text, and quite the opposite, in that both reinforce the content of the other. This study focuses on the features of the visual image in Zahran Al Qasimi's novel "The Alienation of Al Qafer". In this novel, the novelist relied to enrich his literary text on the visual dimension of some Omani villages landscapes. This research aims to show the openness of Al-Qasimi's novel experience to the visual image as an expressive tool, according to the descriptive-analytical approach. One of the most important findings of this research is the explanation of psychological aspects in the narrative text, and the presentation of expressive signs to convey a certain point of view of the novel's characters. This study aims to monitor the elements of the PHOTOGRAPHic image in the novel, and focus on the functions of the visual image in the narrative text, such as the guiding function, the expressive function, the psychological function, and the aesthetic function.

in addition to its well-known historic cities, Iran encompasses numerous forgotten historic cities. While most of these cities lack cohesive historical urban fabric, visual documents—particularly the 1956 aerial PHOTOGRAPHs—and oral history provide valuable accounts of these cities.Purpose: Revisiting these cities based on documented evidence offers the potential to revive authentic traditions of living in Iran's diverse climates. This study focuses on rediscovering the original state of Ramhormoz and its neighborhood system.Method and Research Design:  This research adopts an interpretive-historical approach, relying on the 1956 aerial PHOTOGRAPH and oral narratives from individuals who recall the city’s original state prior to the interventions initiated in 1960. The research progresses by correlating oral accounts with the physical features observable in the aerial PHOTOGRAPH.Findings & Conclusion: Located in the eastern part of Khuzestan Province, Ramhormoz is a city with a longstanding history of settlement. Its warm, semi-humid climate with prolonged summers significantly influenced its urban structure, resulting in a city surrounded by fruit orchards and characterized by houses with diverse subterranean spaces. Before modern interventions, the city exhibited a garden-city structure, deeply integrated with the surrounding orchards. The study identifies and maps the boundaries of the city's original neighborhoods and the surrounding gardens.

This article presents one of the earliest clinical PHOTOGRAPHs in the history of surgery in Iran. The picture was taken around 1919 (1297 of the Iranian solar calendar) in Tabriz, Iran. The picture shows the post-operative care of surgical team of two amputees, the surgical instruments and the method of applied anesthesia. The patients were Iranian Gendarmerie soldiers who lost their limbs to frostbite. The surgeries were performed by Dr. Ali Roshdi in Gendarmerie Hospital in Tabriz. This PHOTOGRAPH cleverly demonstrates the coconscious endeavor of the surgical team to treat and save lives of patients in about a century ago in Tabriz, Iran.

Black and white PHOTOGRAPH without the medium of color has played a significant role in recognizing PHOTOGRAPHy as a type of art. Therefore, the structure of these PHOTOGRAPHs, or tonal, has been majorly considered by the aesthetes and PHOTOGRAPHers which has led to the development and flourishing of PHOTOGRAPHy art up to now. The tonal of black and white PHOTOGRAPH and their differentiation is crucial for our vision. Since some methods can challenge the PHOTOGRAPHers in management of tonal arrangement and composition during creation of their photos, it is necessary this issue be taken into consideration in this article. Accordingly, this research tries to inspect the differences and similarities between the two methods of: 1-using variable contrast paper instead of the monograde paper and 2-using the zone system by utilizing monograde paper, in terms of tonal arrangement and its influence on PHOTOGRAPH quality. This research was completed by doing various experiments and using comparative and analytic method with a qualitative approach as well as studying PHOTOGRAPHy theoretical basis. The research defined that using of variable contrast papers with filter 4 (instead of using development +2 and exposing to the zone system method) changes the valuable tonal of PHOTOGRAPH(detailed high lights and shadows) to lower valued tonal(high lights and shadows without details)(picture No 12). Using the variable contrast papers with filter 0(instead of using development-2 and exposing to the zone system method) improperly changed bright and dark tonal to middle gray and caused a density in this section and threw contrast off balance(picture No 13). Because of possibility to changing of exposure and development of film, and being an influence on arrangement of tonal, the zone system has a convenient function to making of balance in contrast and so keeping the valuable tonal, and eliminating and transfering of lower valued of them. Doing of plus development in zone system method, demonstrated that we can control each three section of tonal(high lights, middle gray and shadows) from the point of view of separation and convenient replacement of tonal(curve No 14). As a result, the research question investigates whether there are differences in tonal arrangement of the two methods and why the user has to choose the difficult method of the zone system. It is concluded that the possibility of careful and wise control and substitution of tonal and their separation in all parts of the picture by using the zone system guarantees the quality improvement and sharpness of the PHOTOGRAPH (as the most significant feature). This choice peruses aesthetical aims and subsequently the variable contrast paper cannot be an appropriate substitute for that.