<Record><identifier xmlns="http://purl.org/dc/elements/1.1/">URN:NBN:SI:doc-GN8P5OL5</identifier><date>2018</date><creator>Ženko, Ernest</creator><relation>documents/doc/G/URN_NBN_SI_doc-GN8P5OL5_001.pdf</relation><relation>documents/doc/G/URN_NBN_SI_doc-GN8P5OL5_001.txt</relation><format format_type="issue">274</format><format format_type="volume">46</format><format format_type="type">article</format><format format_type="extent">str. 95-108</format><identifier identifier_type="ISSN">0351-4285</identifier><identifier identifier_type="COBISSID">3870062</identifier><identifier identifier_type="URN">URN:NBN:SI:doc-GN8P5OL5</identifier><language>slv</language><publisher>Študentska organizacija Univerze v Ljubljani</publisher><source>Časopis za kritiko znanosti</source><rights>BY-NC-ND</rights><subject language_type_id="eng">camera obscura</subject><subject language_type_id="slv">fotografija</subject><subject language_type_id="eng">linear perspective</subject><subject language_type_id="slv">linearna perspektiva</subject><subject language_type_id="eng">photography</subject><subject language_type_id="slv">prostor</subject><subject language_type_id="eng">semiotics</subject><subject language_type_id="slv">semiotika</subject><subject language_type_id="eng">space</subject><title>Prostor za fotografijo</title></Record>