Jobsite cameras job-progress documentation

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Many readers in a recent survey said they find construction photography useful in their work. As we launch the 11th annual ENR Photo Contest, it was great to hear that the popularity of the competition goes beyond enjoying beautiful photographs to learning from the content. In general, construction  photography is being taken more and more seriously as an integral part of the construction process.  are becoming must-have equipment at sites, proving their value for communications, documentation and risk mitigation. In addition to the many supervisors and inspectors who routinely take photos as part of their jobs, at least one integrated service for scheduled is being  franchised nationally.Also, programmers have experimented  with leveraging the digital content of jobsite photos for data collection as an alternative to laser scanning. Manipulated creatively, the pixels of data captured by low-end digital cameras may be the “point clouds” of the future for construction data collection. A serious part of construction, jobsite photography also happens to be beautiful, exciting and uplifting at its best. The contest is looking for your best construction photography taken anywhere in the world between Nov. 13, 2010, and Nov. 11, 2011. The contest seeks well-composed and aesthetically pleasing photos of projects, equipment, materials and people working safely. To enter, . Tom Sawyer, ENR’s photo contest coordinator, says, “We welcome topical photos that offer a commentary on the state of infrastructure in need of repair or salutes heroic achievements.” He says the judges will be open to photos that have a strong  message for the industry, such as identifying construction needs in communities to the importance of safety. Photos like these were recognized recently by the Association of Equipment Manufacturers and its “I Make America” campaign in a photo contest called “Picture a Better America” (for more, visit  The ENR Photo Contest boasts a new panel of judges every year. The panel makes their decisions based solely on the content of the images, without knowing the identities of the photographers, projects or submitting firms.