In addition to the camera, other accessories such as retractors and mirrors are necessary for intraoral photography. They enable directly inaccessible subjects, to be viewed and photographed easily. Gaining adequate view, by suitable retractors and mirrors, is the most important step, requiring skill and patient cooperation to achieve successful results. Composition, visualization of the final photograph and a carefully controlled clinical technique must be practiced in order to produce rapid, precise and reproducible clinical photographs. There are many procedures to be followed and precautions to be taken in order to obtain good quality, reproducible dental photographs. Failures can be avoided by following a distinct procedure. This article focuses on clinical equipments such as retractors, mirrors and intraoral photography.  

Object photography in dentistry including dental instruments, models, teeth and gross specimens has some special features and needs special consideration. These objects are usualy very small, highly usually reflective and often with very bright surfaces. They need special lighting and other accessories for acceptable results. On the other hand, in laboratories and dental clinics we haven't enough time for taking photographs. The purpose of this article is to introduce the principles of object photography in dentistry.

In Kant and the Problem of Metaphysics (KPM), Heidegger shows how the initial image-making power of the imagination is pictorial in the pure image of time. He further clarifies the recognized link between the syntheses and the time-visualizing power of images which is pictorial formative power, which can visualize time. The three syntheses of imagination are replaced with the modes of existence of Dasein. Three kinds of photographs resemble the images produced when the transcendental imagination functions as Dasein. We can address the ways to visualize time by considering Dasein with a photographic preoccupation through 1. A possible look in the form of presentation (a photograph shows an immediate look of a house or person as intuitable this-here); 2. An immediate look of the thing, house, or deceased person, as well as a copy or its reproduction as a death mask; and, 3. The manner of contemplation of a likeness is an immediate look of a being present in the form of representation.

Today, photography in Iran is one of the most popular forms of visual art with a large audience. On the other hand, popularity of photography among the younger generation as a pure form of art with an interconnection with everyday realities is on the increase. The art of photography, which was exclusive to the court in the first three decades of Nasseri rule, became a popular form after Constitutional Revolution. With the advent of the Islamic Revolution and the shut down of the mass media (newspapers and television) as a result of general strike, photography as a means of news dissemination assumed greater significance. At the beginning of the imposed war, photography, which went beyond the conventional news application among artists with strong belief in this art as a media, became very popular and they founded a special school in war photography. Creative photography is a form of photography which is associated with an artist's sentiments, aesthetic principles, and his subjective and emotional perception and is far from a merely objective record of subjects. A photographer may manipulate the tone, composition, and type of the sensitive material to better express his thoughts in creative photography and employ special perspectives, allegory and irony in his work. He may even use collage or multiple negative exposures. This type of photography puts aesthetic aspects in contrast with applied branches in photography.      

This essay has attempted to analyze and interpret the form and content determined by the structure of the book “ Acting the Part: photography as Theatre, ” (translated to Farsi in 2014). It is a descriptive-analytic study and by referring to four chapters of the book, it tries to deal with origin, effectiveness, benefits, and shortcomings of the book. In the course of analysis and research, it is revealed that the book was published on the occasion of a photo exhibition in Canada, and each of the four chapters of the book has a specific aspect to theatrical photography. Few occasions such as the triple roles of actor, narrator, and artist for the sake of the photographer, the photographer as a storyteller, the explanation of live photography and examples of well-known photos in social documentary scope can be considered as book’ s innovations. However, aggregation of diverse opinions expressed in the mold of a book is not homogeneous, and it ends without any final conclusion. The book acts successfully in case-thematic study for stylistic and historical aspects of theatrical photography (Staged photography), but cannot entirely represent all historical and stylistic aspects of this field of photography. Translation, editing, printing quality, and layout of the book are desirable. In the absence of adequate resources in Farsi, this book is useful for enthusiasts and students of photography.

Over the last decade telemedicine services particularly in dermatology domain has seen significant advances and it became as routine medical services in many parts of the world. In Iran although it is not being used in usual practice but many research projects have been conducted on this issue. The main and important point that has not yet been paid enough attention is meeting standard guidelines in telemedermatology services. Ignoring these points can result in misdiagnosis by medical specialists. The value of this matter is that important that American Telemedicine Association has suggested a comprehensive standard guideline about it.Having considered that any similar paper has not yet been published in Iran, this paper aims to conduct a comprehensive review on available resources and guidelines and published papers between 1997-2013 in Teledermatology domain such as the minimum requirements for photography in teledermatology, skin lesions photography techniques, distances, resolution, macro imaging, use of flash, compression, attention to balance between image size and the quality of images for a Teledermatology consultation service.

Dentistry has always benefited from photography as an adjunct tool in diagnosis treatment planning and presentations. The main reason for taking dental photographs is to provide documents and supplements for treatment. A photograph facilitates communication between dentists and laboratories. Quality control will become more important to dental practice in near future and photographs can be used by dentists as self-checking tools. Nowadays performing lectures or publications without presenting pictures is inconceivable. The camera system must be easy to use and accessories should be always available. Although a good variety of equipments are now available and can be used for close-up photography, the special requirements of dental clinical photography are not always provided by the manufacturers and dealers' recommendations are not always correct. This article tries to help the readers to find and use the most suitable equipments for their routine dental practice.

photography camera was presented to the Qajar court in mid December1842 as a gift and since photography received the royal attention of Nasseredin Shah, it grew rapidly and became institutionalized. Among various functions of photography in the nineteenth century, in the beginning, taking women's picture was in contradiction with the women's representation in the west was raised as a cultural issue. photography of women was almost impossible for fear of women sitting in front of camera, male photographer and published their photos. The joy and Nasseredin Shah's tend and his superior situation made first steps in breaking this cultural taboo and his taking photos of his women of the Harem became the beginning of taking women's photos by photography camera in Iran. He would personally take pictures of the members of his seraglio. Underneath most pictures of the women of his seraglio which exist in the collection of his photographs in the royal collection, he points out in his own handwriting that he has personally taken the pictures (not another male photographer). Two teenager eunuchs had helped to shah when he wanted to be in some photos next to his wives or in developing and print. Nasseredin shah felt that he should allot a special place for a studio. For this reason he designated a place in the yard of Golestan Palace to studio. It was next to Shamsol Emareh Building; naming it as the Majesty's Royal Studio. Agha Reza Akkas Bashi was the first professional photographer in Iran. He became the manager of the first Royal studio. He would take all the photos desired by Nasseredin shah in this studio, except photography of women. New documents have been investigated in this research evidence because Royal studio was far away from Harem and for Islamic limitation Nasseredin Shah reserved an area of his Harem for photography studio. Harem studio designated to photography of the women of his seraglio and had been managed by Amineh Aghdas one of the influential and famous women in the court. These documents consist of architectural documents of royal palace (Golestan Palace) and some telegraphs from Nasseredin Shah that had sent to his wives, especial Amine Aghdas, during Nasseredin Shah's travel to the west. The frequent trips of noble Iranian in the west and three trips to the western countries by shah put us in the path of sudden storm of modernity and modernism was formed in shape of arrival of western images in Iran. Taking photos of women in this cultural- social change cycles by the upper class people with expenses of traveling west left the walls of Nasseri Palace and arrived into photography shops. After Nasseredin Shah, some noblemen started to photography of women in their family and after that we can see pictures of Iranian women had been taken by Iranian photographer in photography studios. This research also has investigated the gradual process of abolishment of bans in taking photos from women and its spread.

Iconography has profound origins in human’ s perspective and understanding of the world. Ancient murals, Christian religious icons, and eventually the manifestations of the modern age, have been created and used in the same quality in human cultural life. They have almost the same ultimate destination and goal that can be detected in them. Iconography has constantly been accompanied by a kind of fear, to dominating what can happen in the future, and, in order to avert disasters and death, and to achieve forgiveness, prosperity and bliss. After the invention of photography, by putting the photographs alongside the icons which in some cases are derived from religious texts, not only does photography introduce itself as an iconography device, but it has also been influential in producing paintings iconographies with creation of the photographic realism. The main question is that how photography especially those about the social issues and among them the private and family photos, as a modern medium has an iconic origin, and how photography is able to have an unrealistic and metaphysical usage in the context of today life with its inherent characteristics being clarity, accuracy in details, signifying the being-there (dasein) of the referent and as a result, the photographic realism? This issue can be studied based on the most important theories of photography in the twentieth century. It is concluded that photography, in its philosophy and existential position, not only has carried on the iconic characteristics of the past, but has also has emphasized its originality and textual identity more broadly, so that it has given a photographic originality to modern iconography.

This essay is trying to analysis and critique the book, according to determined measures. This book has great and new information about contemporary photography theories. Authors in every section focused on the special subject. Book includes seven main sections and the great attached text. It would be clear, by review forms and contents of all sections, this book as well as pay attention to recent discussions in photography theory. Refersto too much credible references are very reliable. Almost of sections are very useful for teaching courses of photography theory in University. Translate this book to Persian language is reliable. Every section of book isn`t depended to another, Thus every sections can be as a book. At last the book is more Description the theories thanto be Critique of Ideas.