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This study aims to analyze the current practices of food and beverage (F&B) photography and styling through the eyes of professionals involved in the food business.

A phenomenological research approach was used and empirical data were collected via a series of semi-structured interviews with professional food photographers. Purposive and snowballing sampling methods were used and the participants of this study consisted of 26 F&B photographers and stylists who were actively and professionally working in this field. Content analysis was applied to the empirical data.

The research findings reveal several key themes in F&B photography and styling: emotional appeal, key trends, career opportunities, required skills and abilities and interventions and ethical considerations. Three specific roles were identified in F&B photography and styling: food and beverage photographer, food and beverage stylist and prop stylist.

This study offers discussions on the pros and cons of F&B photography beginners and professionals and the food business.

This is one of the first studies to offer empirical findings and discussions on the concept of F&B photography and styling.

论当前餐饮业中食物和酒水照相和摆盘的措施

本论文探索分析当前餐饮业中F&B通过专业摄像来对食物照相和摆盘的措施。

本论文采用现象学研究方法, 对专业食物摄像师进行半结构化访谈, 采集数据。通过目的性和滚雪球式采样方法, 共26位F&B专业摄影师和摆盘师接受了访谈。本论文采用文本分析法对数据进行分析。

研究结果展示了多个F&B摄像和摆盘中的关键主题:（1）情感吸引（2）热门趋势（3）就业机会（4）所需技巧和能力（5）介入和道德考量。F&B摄像和摆盘的三个具体职位:（1）餐饮摄影师（2）餐饮摆盘师（3）料理造型师。

本论文对F&B摄像业余和专业摄像师和餐饮企业的优劣势进行探讨。

本论文是首篇对F&B摄像和造型的概念进行深入探讨并且提供实证调研的文章。

While the spread of mass media culture in the United States has often been measured in terms of the number of television sets in each home, the camera and the photograph have been almost as pervasive. Once the province of the professional photograher or the special studio, cameras of the same type are found today in all but a very few homes in the United States. Even rarer would be a home without its collection of photographs to record the family's events, joys, triumphs and tragedies as well as the everyday mundane record of events.

The purpose of this study is to investigate how social media features enable crowdsourcing and to gain rich understanding of mechanisms that lead from online community design practices to success in crowdsourcing initiatives.

Inductive qualitative methods were used for investigating the case of crowdsourcing-based microstock business model. Twenty-three in-depth interviews with stock photography industry insiders were combined with netnography data and documents.

Two mechanisms influencing participants’ motivation and peer-to-peer learning were identified. Both extrinsic and intrinsic motivations are important for participants’ engagement.

Findings of this inductive effort should be replicated in other industry settings and used to develop testable propositions of antecedents and outcomes of crowdsourcing implementations.

Companies embarking on crowdsourcing initiatives can enhance participants’ motivations through social media and enable learning through online communities. Managers must understand who participates in the crowd and what their motivation is.

This study is investigating under-researched peer-vetted creative production crowdsourcing model. Managers can use presented ideas for developing crowdsourcing online communities.

The case was written using information and data from secondary sources. It describes real people and the situations experienced by them. It does not use any fictitious names, scenarios or organizations.

The case study “Melanie Perkins: Poised to Redesign Canva from Tech Unicorn to Tech Giant?” describes the entrepreneurship journey of Melanie Perkins (she) (Perkins), the CEO of Australia-based tech unicorn and graphic design company, Canva Pty Ltd. (Canva). The case starts with a brief look into Perkins’ background and documents her entrepreneurial spirit, which, at the age of 19, led her to identify a hitherto unserved market (yearbooks) in the graphic design industry and offer an online design system through her venture, Fusion Books (Fusion). Fusion was completely bootstrapped and became a runaway success within five years. That encouraged her to envision setting up a one-stop-shop design site that would make design accessible to everyone.

However, when she tried to raise funds, Perkins encountered multiple rejections from venture capitalists. She persevered and continually refined her strategy. Eventually, she managed to raise venture capital funding and establish her design startup, Canva, in 2013. Canva then went on to disrupt the graphic design industry. The case describes in detail the reasons for Canva’s success, which went on to be one of the few profitable unicorn start-ups. The case also throws light on how Perkins used Canva as a tool to change society with her two-step plan. Despite its market success, Canva faced heavy competition in the design and publishing space from well-established players. Can Perkins challenge the competition and ultimately make Canva a software giant in the future?

The case is intended for use in teaching the subjects “Entrepreneurship Development,” “Business Strategy,” “Leadership Skills and Change Management” and “Positive Psychology for Managers” in both graduate and post-graduate programs.

This paper aims to present the results of the first phase of a research project aiming to develop a bilingual taxonomy for the description of digital images. The objectives of this extensive exploration were to acquire knowledge from the existing standards for image description and to assess how they can be integrated in the development of the new taxonomy.

An evaluation of 150 resources for organizing and describing images was carried out. In the first phase, the authors examined the use of controlled vocabularies and prescribed metadata in 70 image collections held by four types of organizations (libraries, museums, image search engines and commercial web sites). The second phase focused on user‐generated tagging in 80 image‐sharing resources, including both free and fee‐based services.

The first part of the evaluation showed that each resource presented comparable information for the images or items being described. Best practices and implementation proved to be largely consistent within each of the four categories of organizations. The second part revealed two trends: in image‐upload systems, there was a virtual absence of mandated structure beyond user name and tags; and in stock photography resources, the authors encountered a hybrid of taxonomies working in combination with user tags.

The analysis of best practices for the organization of digital images used by indexing specialists and non‐specialists alike has been a crucial step, since it provides the basic guidelines and standards for the categories and formats of terms, and relationships to be included in the new bilingual taxonomy, which will be developed in the next phase of the research project.

The purpose of this paper is to present the results of the first phase of a research project that aims to develop a bilingual interface for the retrieval of digital images. The main objective of this extensive exploration was to identify the characteristics and functionalities of existing search interfaces and similar tools available for image retrieval.

An examination of 159 resources that offer image retrieval was carried out. First, general search functionalities offered by content-based image retrieval systems and text-based systems are described. Second, image retrieval in a multilingual context is explored. Finally, the search functionalities provided by four types of organisations (libraries, museums, image search engines and stock photography databases) are investigated.

The analysis of functionalities offered by online image resources revealed a very high degree of consistency within the types of resources examined. The resources found to be the most navigable and interesting to use were those built with standardised vocabularies combined with a clear, compact and efficient user interface. The analysis also highlights that many search engines are equipped with multiple language support features. A translation device, however, is implemented in only a few search engines.

The examination of best practices for image retrieval and the analysis of the real users' expectations, which will be obtained in the next phase of the research project, constitute the foundation upon which the search interface model that the authors propose to develop is based. It also provides valuable suggestions and guidelines for search engine researchers, designers and developers.

This research demonstrates that the combination of two methodologies to describe photographs — Nobrade and Sepiades — together with the contextualization and identification of the content informational model of the photograph facilitates the reconstruction of institutional memory. This exploratory research based on case study adopted a set of metadata from Nobrade and Sepiades aiming at the organization and availability of the set of information extrinsic to the 20 portraits of the rectors of the Federal University of Pernambuco from 1946 to 1971. For the contextualization of this period, some of the events that occurred in Brazil were highlighted, as they influenced the academic environments during the Democratic Period and the Military Regime. The description of the photography was made in four parts: first part was called administrative dates resulting in the photo identification information; second part was the provenance data, that is, data about its origin and context; third part was composed of the technical data of the photograph; and fourth part was composed of the image data which contains information about the content of the photograph. The second and fourth parts using context and content information enable the photograph to be understood beyond what can be seen and contribute to the reconstruction of institutional memory. This research contributes to the elaboration of a documentary system using a combination of methodologies, focusing on photographs, not only as an institutional technical activity, but also as an activity necessary for the reconstruction of the institutional memory.

The purpose of this paper is to argue that greater awareness of the connections between the traditions and conventions of visual art and the production and consumption of images leads to enhanced ability to understand branding as a strategic signifying practice.

Several prominent, successful artists served as case studies to illuminate the potential for insights into the interconnections between art, branding, and consumption by turning to art history and visual studies. Discusses the cross‐fertilization of art and branding, focusing on three contribution areas: the interactions between art, brands and culture, the self‐reflexivity of brands, and brand criticism.

Successful artists can be thought of as brand managers, actively engaged in developing, nurturing and promoting themselves as recognizable “products” in the competitive cultural sphere.

This paper places brands firmly within culture to look at the complex underpinnings of branding, linking perceptual and cognitive processes to larger social and cultural issues that contribute to how brands work and argues that art‐centred analyses generate novel concepts and theories for marketing research.

This study aims to explore visual artists’ image needs and the obstacles they face in meeting them.

The visual artists, participating in the study, included painters, graphic designers, textile designers, architects and sculptors who were faculty members in two oldest art institutions of Pakistan. A total of 20 face-to-face interviews representing four participants from each visual artists group were conducted. The textual data were analyzed thematically, using NVIVO 12 software.

Results showed that under-study visual artists need images mainly for academic purposes (teaching, assignments, etc.) and for professional and research purposes. However, they require images quite often, as a majority of the respondents told that they need images on daily basis.

The study findings provide an insight for information science professionals, system designers and image librarians regarding visual artists’ image using behavior.

As the researchers could not find any such study in local context, and a very few globally, therefore, this study may serve as a baseline for further research in this area.