how to cite images from research paper

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Locating and Using Images for Presentations and Coursework

Free & Open Source Images
How to Cite Images
Alt Text Image Descriptions

Copyright Resources

Copyright Term and the Public Domain in the United States from Cornell University Library
Copyright Overview from Purdue University
U.S. Copyright Office
Fair Use Evaluator
Visual Resources Association's Statement of Fair Use of Images for Teaching, Research, and Study
Creative Commons Licenses

Attribution

Again, the majority of images you find are under copyright and cannot be used without permission from the creator. There are exceptions with Fair Use, but this Libguide is intended to help you locate images you can use with attribution (and in some case, the images are free to use without attribution when stated, such as with stock images from pixabay). ***Please read about public domain . These images aren't under copyright, but it's still good practice to include attribution if the information is available. Attribution : the act of attributing something, especially the ascribing of a work (as of literature or art) to a particular author or artist. When you have given proper attribution, it means you have given the information necessary for people to know who the creator of the work is.

Citation General Guidelines

Include as much of the information below when citing images in a paper and formal presentations. Apply the appropriate citation style (see below for APA, MLA examples).

Image creator's name (artist, photographer, etc.)
Title of the image
Date the image (or work represented by the image) was created
Date the image was posted online
Date of access (the date you accessed the online image)
Institution (gallery, museum) where the image is located/owned (if applicable)
Website and/or Database name

Citing Images in MLA, APA, Chicago, and IEEE

Directions for citing in MLA, APA, and Chicago MLA: Citing images in-text, incorporating images into the text of your paper, works cited APA 6th ed.: Citing images in-text and reference list Chicago 17th ed.: Citing images footnotes and endnotes and bibliography from Simon Fraser University
How to Cite Images Using IEEE from the SAIT Reg Erhardt Library
Image, Photograph, or Related Artwork (IEEE) from the Rochester Institute of Technology Library

Citing Images in Your PPT

Currently, citing images in PPT is a bit of the Wild West. If details aren't provided by an instructor, there are a number of ways to cite. What's most important is that if the image is not a free stock image, you give credit to the author for the work. Here are some options:

1. Some sites, such as Creative Commons and Wikimedia, include the citation information with the image. Use that citation when available. Copy the citation and add under the image. For example, an image of a lake from Creative Commons has this citation next to it: "lake" by barnyz is licensed under CC BY-NC-ND 2.0 .

2. Include a marker, such as Image 1. or Figure 1., and in the reference section, include full citation information with the corresponding number

3. Include a complete citation (whatever the required format, such as APA) below the image

4. Below the image, include the link to the online image location

5. Hyperlink the title of the image with the online image location

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Last Edited: Jun 8, 2023 3:28 PM
URL: https://guides.lib.purdue.edu/images

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Referencing style - APA 7th: Images, tables and figures

Introduction
Books and book chapters
Journal and newspaper articles
Reports, theses and grey literature
Web sources
Conference papers
Images, tables and figures
Music and audiovisual resources
Data sets and standards
Secondary Sources
Personal Communication
Generative Artificial Intelligence (AI)
Legal sources
Example text
Images and Copyright
Tables and Figures
More information

APA examples: Images, tables and figures

All images, figures and tables referred to in the text or reproduced in an essay, assignment or presentation, must be cited and included in your reference list.

See this guides images, figures and tables tab to view how the attribution of these examples below are treated within the text.

See APA Style examples, Clip Art Image and Artwork References for general notes and more examples.

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Next: Music and audiovisual resources >>
Last Updated: May 24, 2024 4:34 PM
URL: https://guides.library.uwa.edu.au/apa

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TODAY'S HOURS:

Using Images in Research and Presentations

Finding Images
Using Images

Why Do I Need to Cite Images?

Creative commons attribution.

Citing all your sources of information and creative work you use is part of academic integrity. You are giving credit where credit is due.

In academic work, images should be followed by and attribution or in text citation whether that be in a note or caption immediately following the image or at the bottom of a presentation slide. A full citation should be found in your Works Cited or Reference List, though you might separate them out into an Image Credit List, depending on the style of citation you are using.

The 7th edition of the Publication Manual of the American Psychological Association expended their explanations and examples of how to cite multimedia sources including multimedia materials. Examples of reference are found in Chapter 10 of the Manual and the following sections focus on multimedia sources

10.12 Audiovisual works (films, streaming videos, television series, etc.)
10.13 Audio works (music, podcast, radio broadcast, etc.)
10.14 Visual works (fine art, clip art, infographics, photographs, maps, etc.)
10.15 Social media (including Instagram posts).

A related section of the Manual is Chapter 7 which deals with the presentation of tables and figures, so the Manual shows you how images should be incorporated into your work in addition to how they should be cited; see Sample Figure 7.3 for how to include an attribution in the figure note.

Here is an example of how the following photograph (found through Pixabay) should be cited using the APA style.

stokpic. (2015, February 10). Blonde Girl Taking Photo [Photograph]. Pixabay. https://pixabay.com/photos/blonde-girl-taking-photo-629726/

Remember, the library has a copy of the Manual at the Reference Desk if you need to use it.

The 9th edition of the MLA Handbook Appendix 2 has several examples of works-cited-list entries and the examples of citing fine art and still images can be found on pages 331 - 333. The online MLA Style Center also has examples of image citations.

Citations by Format | MLA Style Center Are you using any other types of information sources in your project? Find more examples of MLA citation styles here.

Here is an example of how the following photograph (found through Pixabay) should be cited using the MLA style.

stokpic. Blonde Girl Taking Photo. 10 February 2015. Pixabay . pixabay.com/photos/blonde-girl-taking-photo-629726/

Remember, the library has a copy of the Handbook at the Reference Desk if you need to use it.

Use & Remix - Creative Commons The "Use & remix" section of the Creative Commons website details how to properly attribute content licensed under a CC license. Attribution is a condition of all CC licenses. more info... less info... Creative Commons is a nonprofit organization dedicated to building a globally-accessible public commons of knowledge and culture. They provide Creative Commons licenses and public domain tools that give every person and organization in the world a free, simple, and standardized way to grant copyright permissions for creative and academic works; ensure proper attribution; and allow others to copy, distribute, and make use of those works.
<< Previous: Using Images
Last Updated: Mar 21, 2024 3:46 PM
URL: https://libguides.umflint.edu/images

Works-Cited-List Entries

How to cite an image.

To create a basic works-cited-list entry for an image, list the creator of the image, the title of the image, the date of composition, and the location of the image, which would be a physical location if you viewed the image in person. If you viewed the image online, provide the name of the website containing the image and the URL. If you viewed the image in a print work, provide the publication information for the print work, including a page number. Below are sample entries for images along with links to posts containing many other examples.

A Photograph Viewed in Person

Cameron, Julia Margaret. Alfred, Lord Tennyson . 1866, Metropolitan Museum of Art, New York City.

A Painting Viewed Online

Bearden, Romare. The Train . 1975. MOMA , www.moma.org/collection/works/65232?locale=en.

An Untitled Image from a Print Magazine

Karasik, Paul. Cartoon. The New Yorker , 14 Apr. 2008, p. 49.

More Examples

Basic Information

The basic information you will need:

Artist name
Title of the work
Date it was created
Repository, museum, or owner
City or Country of origin
Dimensions of the work
Material or medium such as oil on canvas, marble, found objects

If you found the image in a book you will need the author, title, publisher information, date, and page, figure or plate number of the reproduction.

If you found the image online you will need an access date, the web site address (URL) and in some cases an image ID number.

Citation Styles

Credit lines for images from published works are placed at the end of the caption in parentheses, and citation to source of the image follows regular citation formatting.
Depending on which ACS format used, information at the end of the caption is in one of two formats
Number style example: Reprinted with permission from ref XX. Copyright Year Copyright Owner’s Name. Reprinted with permission from ref 10. Copyright 2003 American Pharmaceutical Association.
Parenthetical style example: Reprinted with permission from Author Names (Year of Publication). Copyright Year Copyright Owner’s Name. Reprinted with permission from Camiola and Altieri (2006). Copyright 2006 American Institute of Physics.
For works produced by the U.S. Government where copyright doesn't apply, "with permission" and the copyright information are dropped, and the parenthetical note begins with, "Reprinted from". For images from ACS journals to be published in ACS journals, "with permission" is dropped.
Artist (last name, first name), artist’s role (in parentheses i.e. Artist, Architect), title, the work type, in brackets [Painting, Cathedral, Chair], country of origin or city, and state, and repository.
Example: Constable, John (Artist). (1821). The Hay Wain [Image of painting]. London, England; National Gallery. Retrieved May 30, 2011, from http://www.artstor.org
" The original source should be acknowledged in the legend. If the original source in which the illustration has been published is included in the reference list, the reference may be cited in the legend, with the citation number for the reference corresponding to its first appearance in the text, tables, or figures..."
Author of image (if given). Title of image [format]. In: Remainder of citation as it would be for the book chapter, article, or other source that it came from
Example caption for work not cited elsewhere in the document: Figure 1 Analytical Framework [Image]. In: O’Con nor E, Rossom RC, Henninger M, Groom HC, Burda BU. Primary care screening for and treatment of depression in pregnant and postpartum women: Evidence report and systematic review for the US preventive services task force. JAMA . 2016;315(4):388-406. doi:10.1001/jama.2015.18948
Images should include supportive information to indicate the subject of the image, how it was obtained, and why it was selected.
Cite like any other CSE citation and include content designator in square brackets after the title.
Example for a map: Northeastern United States. West Nile virus: wild bird cases [demographic map]. Washington (DC): Department of the Interior (US); 2001 Jun 1. 1 sheet: color.
In the humanities citations are provided in footnotes and endnotes along with a bibliography. Images can be cited using captions or in a bibliography. Check with your instructor or instructions for authors for the correct manner.
Example: Sullivan, Louis H. The Security Bank , 1907. Owatonna, Minnesota. http://www.artstor.org/ (accessed May 12, 2011).
Cite the artist's name, title, usually underlined, and the institution or individual who owns the work, and the city.If you want to indicate the work's date, include it after the title. For a work of art you viewed online, end your citation with your date of access and the URL.
Example: Botticelli, Sandro. Birth of Venus . c. 1482. Galleria degli Uffizi, Florence. ARTstor . 6 Jun. 2011, <http://www. artstor.org>.

Turabian-style Citation Format

Cite the artist's name, title in italics, the medium and support, the date, and the institution or individual who owns the work, the city, and, if needed for clarification, the state. If the location is unknown use, “whereabouts unknown” in parentheses.As a general rule cite images only in notes.
Example: Frank Duveneck, 1872. Whistling Boy . [database on-line] (ARTstor, accessed 14 June 2011); available www.artstor.org, image ID CARNEGIE_4410001
<< Previous: Scientific Images
Last Updated: May 20, 2024 10:26 AM
URL: https://guides.library.vcu.edu/scientificimages

Citing Sources

Image Databases
Chicago/Turabian
Annotated Bibliography
Citing the Use of an Artificial Intelligence

More About Citing Images

Chicago/Turabian Style Image Citations:

Note Number. First Name Last Name of Artist, Title of Work , Year, Medium, Name and location of where it is housed, accessed (date), URL.

12. Andy Warhol, Endangered Species: Giant Panda (Ailuropoda melanoleuca) , 1983, silkscreen print, Ronald Feldman Fine Arts, accessed January 20, 2022, Artstor, https://library.artstor.org/#/asset/LARRY_QUALLS_10312602459.

Free Image Resources

Free Media for Creative Use: Image Resources Sources for stock photos, historical images, digital collections from museums, and more.

Images or illustrations can enhance your papers and presentations. Like written sources, images also need to be properly cited. Always indicate, or cite where you found the image.

Citations can be formatted according to the citation style you are using (MLA, APA, Chicago, etc).

Using images you did not create requires a citation in all cases. Citations should be accessible in the context of the image's use and should link back to the original image whenever possible. Include a caption below the image and a formal citation in your works cited.

Citing Image Sources - Basic Guidelines

Give attribution to image creators in citations and credit statements to acknowledge authorship
Indicate when using a personal photograph
Include source information
Citations to images included in image databases should include the following (or as much of it as can be easily determined from the source):
Creator's name
Title of the work, as given
Location of the work (museum, library), if known
Database collection, if known
Rights information, if known

No matter where you get your image (Google image search, Artstor, WGSN Fashion, museum website, scan from a book) or how you use it (Power Point, in a paper for class, a flyer) you MUST provide a citation for every image you use. This is as simple as adding any of the known information about the work (listed above) to the bottom of the digital image. Provide as much information as possible. For formal papers and presentations provide BOTH a caption and a citation in your bibliography or works cited.

For example, this image was found using a Google Image Search. The image is hyperlinked back to the original source (on Flickr) and as much information as is known about the image is included in the caption below.

Red Panda by Mathias Appel , 2015. Flickr (Public Domain)

Citing Image Sources - Image from Artstor

The following image was downloaded from Artstor. Here's the information provided by the metadata within Artstor that I need to keep track of and include where appropriate.

An image from ARTstor

Creator's name: Andy Warhol
Title of the work, as given: Endangered Species: Giant Panda ( Ailuropoda melanoleuca )
Location of the work (museum, library), if known: Exhibited at Ronald Feldman Fine Arts
Database collection, if known: In Artstor [database online]
Rights information, if known: © The Andy Warhol Foundation for the Visual Arts, Inc.

Endangered Species: Giant Panda (Ailuropoda melanoleuca) by Andy Warhol, 1983. Artstor. © The Andy Warhol Foundation for the Arts, Inc.

The MLA Citation in your Works Cited would be:

Warhol, Andy. Endangered Species: Giant Panda (Ailuropoda melanoleuca). 1983. Exhibited at Ronald Feldman Fine Arts. Artstor, https://library.artstor.org/#/asset/LARRY_QUALLS_10312602459 .

Citing Image Sources - WGSN or WWD Runway Photo

The following image was downloaded from Women's Wear Daily from a Paris Fall 2016 Couture runway show. There were very few details provided by the database, but I've captured what I can.

Creator's name: Giovanni Giannoni (photographer), Zuhair Murad (designer)
Titles of the work, as given: Gown, Paris Fall 2016 Couture
Location of the work: Paris
Database collection, if known: Women's Wear Daily
Rights information, if known: Giovanni Giannoni, WWD Photographer

Zuhair Murad Paris Fall 2016 Couture (look 13), 2016. Women's Wear Daily.

The MLA Citation in your Works Cited would be:

Giannoni, Giovanni. Zuhair Murad Paris Fall 2016 Couture Runway (look 13) , 2016. Women's Wear Daily . Accessed August 24, 2016.

Citing Image Sources - WGSN Report

The following image was downloaded from WGSN Fashion database. Here's the information I need to keep track of:

Creator's name: Yvonne Luk
Title of the work, as given: Wild Animals from The Creative Faces of Beauty Masks
Date: July 16, 2015
Location of the work (museum, library), if known: N/A
Database collection, if known: WGSN Fashion
Rights information, if known. Unknown, but most likely copyrighted by WGSN.

Wild Animals from The Creative Faces of Beauty Masks by Yvonne Luk, 2015. WGSN Fashion .

Luk, Yvonne. "Wild Animals," The Creative Faces of Beauty Masks. 2015. WGSN Fashion. Accessed August 2016.

Citing Image Sources - Chart from Statista

The following image was downloaded from Statista. Here's the information provided by the databases (including the MLA citation below generated for you!)

Creator's name: Nike
Title of the work, as given: Nike's North American Revenue from 2009 to 2016, by Segment (in Million U.S. Dollars)
Date: July 2016
Location of the work: Statista
Database collection, if known: Statista - the Statistics Portal
Rights information, if known. Unknown

This image includes much of the information I would include in a caption - but if you download a chart or graph without this info included, be sure to caption it as well.

Nike. "Nike's North American Revenue from 2009 to 2016, by Segment (in Million U.S. Dollars)." Statista - The Statistics Portal. Statista. July 2016. Web. 30 Aug 2016.

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Last Updated: Mar 8, 2024 11:44 AM
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Images from UW Libraries
Open Images
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Citing Images
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Images Research Guide

Images Research Guide: Citing Images

How to cite images.

There are many ways to cite images. Most important is to include all relevant information so others can locate, understand and evaluate any images you use.

Academic Styles of Citing Images:

APA Style (7th Edition)

MLA Style (9th Edition)

Non-Academic Style:

Image Credits

Reference List

General Format:

Creator, C. (Year of Production or publication). Title of work [Description, Medium, or other relevant information]. Source. Retrieval information or location of work.

Image Found on the Web Euloth, G. (2012). Sleepy Kitty, Purr, Purr, Purr [Photograph]. Flickr. https://flic.kr/p/bD838X

Image from a Database Sharkstar, A.J. (2014). Two Cats Bound Together By A Snake [Sticker]. A rtstor . https://library.artstor.org/public/SS7730635_7730635_12095826

Image from a Book O’Keeffe, G. (1923). Alligator Pears in a Basket [Charcoal drawing]. In Sayre, H.M., Writing about art (6 th ed., pp. 39). Upper Saddle River, NJ: Pearson Prentice Hall, 2009.

Image from a Museum or Archive Website Lawrence, J. (1977). The Studio [Painting]. Seattle Art Museum, Seattle, WA, United States. https://art.seattleartmuseum.org/objects/10605/the-studio

Image in a Museum Mirra, H. (2016). Standard Incomparable [Textile]. Pasadena, CA: Armory Center for the Arts.

In-text Citations

(Creator Last Name, Year)

If there is no creator, use (Title, Year)

(Amero, 1951)

Figure Captions

Figure 1. Author, A. A. (Year). Title of material . [Description of material]. Retrieved from http://www.xxxx

Figure 1. Amero, E. (1951). Fiesta. [Print]. Retrieved from Artstor.

Image Credits (Non-Academic Style)

A credit statement can be an alternative to a full academic citation, and especially useful when writing for the Web. Provide a link to the image if you can.

Title by Creator, date (if available), via source (Creative Common License Type, if applicable).

Sleep Kitty, Purr, Purr, Purr by Glenn Euloth, 2012, via Flickr (CC BY-NC-ND 2.0).

Open Attribution Builder:

If you are using an openly licensed image, try generating an image credit with the Open Attribution Builder .

Why Cite Images?

There are many important reasons to cite images you use:

Give credit to the creator of the image.
Provide information so others can find and reuse the image
Participate in ongoing scholarly conversations about images

MLA Style (Ninth Edition, 2021)

Works Cited List

Previously, researchers made citations by following the MLA’s instructions for the source’s publication format (book, DVD, Web page, etc.). Now, there is one standard, universal format that researchers can use to create their citations:

Author. Title of source. Title of container, Other contributors, Version, Number, Publisher, Publication date, Location.

Note: Containers are the elements that “hold” the source. For example, if a photo is posted on Flickr, Flickr is the container. Sometimes a source is nested inside of two separate containers, like an image found in a book read on an ebook platform like Ebook Library (EBL). Both the title of the source and its container (or multiple containers) are included in a citation.

Image Found on the Web Euloth, Glenn. Sleepy Kitty, Purr, Purr, Purr. 2012. Flickr , flic.kr/p/bD838X .

Image from a Database Amero, Emilio. Fiesta . 1951. National Gallery of Art, Washington, D.C. Artstor , https://library.artstor.org/#/asset/external/8D5Jcj0oMloyLyw%2Ffzx%2FRHsp

Image from a Book O’Keeffe, Georgia. Alligator Pears in a Basket . 1923. Writing about Art by Henry M. Sayre, 6 th ed., Pearson Prentice Hall, 2009, pp. 39.

Image from a Museum or Archive Website Lawrence, Jacob. The Studio . 1977. Seattle Art Museum, Seattle. Seattle Art Museum, www1.seattleartmuseum.org/eMuseum/code/emuseum.asp?style=browse&currentrecord=1&page=search&profile=objects&searchdesc=90.27&quicksearch=90.27&newvalues=1&newstyle=single&newcurrentrecord=1.

Image in a Museum Mirra, Helen. Standard Incomparable . 2016, Armory Center for the Arts, Pasadena, CA.

In-text citations

(Creator Last Name, Page Number)

If there is no creator, use (“Title", Page Number)

For images found online, do not list a page number.

Fig 1. Ann Author, Title of Work , Museum and/or Publication information.

Fig 1. Emilio Amero, Fiesta , National Gallery of Art, 1951, Washington, D.C.

<< Previous: Image Analysis
Last Updated: Nov 15, 2023 12:45 PM
URL: https://guides.lib.uw.edu/newimages

Quick Links:

USC Libraries
Research Guides

Using Images and Non-Textual Materials in Presentations, Papers, Theses, and Dissertations

Documenting and Citing Images
Finding Images - Select Sources

Documenting and Citing Images/Photographs and Their Sources

Please note that this is advice on best practices and considerations in documenting and citing images and non-print materials. It does not represent legal advice on obtaining permissions.

Generally, images copied from other sources should not be used without permissions in publications or for commercial purposes. Many American academic institutions require graduate students to archive their finished and approved theses/dissertations in institutional electronic repositories and/or institutional libraries and repositories, and/or to post them on Proquest's theses database. Unpublished theses and dissertations are a form of scholarly dissemination. Someone else's images, like someone else's ideas, words or music, should be used with critical commentary, and need to be identified and cited. If a thesis/dissertation is revised for publication, waivers or permissions from the copyright holder(s) of the images and non-textual materials must be obtained. Best practices also apply to materials found on the internet and on social media, and, properly speaking, require identification, citation, and clearance of permissions, as relevant.

Use the following elements when identifying and citing an image, depending on the information you have available . It is your responsibility to do due diligence and document as much as possible about the image you are using:

Artist's/creator's name, if relevant;
Title of the work/image, if known, or description;
Ownership information (such as a person, estate, museum, library collection) and source of image;
Material, if known, particularly for art works;
Dimensions of the work, if known.

The Chicago Manual of Style online can be searched for norms on appropriate ways to caption illustrations, capitalize titles of visual works, or cite print materials that contain images.

Including images/photographs in a bibliography:

Best practice is to not include images within a bibliography of works cited. It is common, instead, to create a separate list of images (or figures) and their source, such as photographer (even if it's you) or collection. It may be useful to also include location, e.g., museum, geographic reference, address, etc.

Examples of Documenting Images

The image below is scanned from a published book. It can be used in a critical context within a presentation, classroom session, or paper/thesis, as follows:

[ Figure 1. This photograph from 1990 shows the Monument against Fascism designed by Jochen Gerz and Esther Shalev-Gerz, Hamburg, 1986-1993. Image from James Young, ed., Art of Memory: Holocaust Memorials in History (New York: Prestel, 1994), 70]

If you need to use this image in a published work, you will have to seek permission. For example, the book from which this image was scanned should have a section on photo credits which would help you identify the person/archive holding this image.

The image below was found through Google Images and downloaded from the internet. It can be used in a critical context within a presentation, classroom session, or paper/thesis, as follows:

[Figure 2. This image shows the interior of Bibliotheca Alexandrina designed by the Norwegian architecture firm Snøhetta in 2001. Image downloaded from https://mgkhs.com/gallery/alexandria in March 2016.]

If you want to use this image in a published work, you will have to do your best to track down its source to request permission to use. The web site or social media site where you found the image may not be an appropriate source, since it is common for people to repost images without attribution. Just because "everyone does it" does not mean that you should be using such materials without attribution or documentation. In this specific example, you may need to write to the photographer or to the architecture firm. If you have done due diligence and were unable to find the source, or have not received a response, you may be able to use an image found on the internet with appropriate documentation in a publication.

The image below was downloaded from a digitized historic collection of photographs held by an institutional archive. It can be used in a critical context within a presentation, classroom session, or paper/thesis, as follows:

[Figure 3. In the 1920s the urban landscape of Los Angeles started to change, as various developers began building multi-family apartment houses in sections previously zoned for single family dwellings. Seen in this photograph by Dick Whittington is the Warrington apartment building, which was completed in 1928, surrounded by older single family structures. Downloaded from the USC Digital Library in February 2016]

I f you plan to use this photograph in a publication, seek permission from the library/institution from whose digital archive you downloaded the image. Contact information is usually found in the record for the image.

The image below was taken by the author. It can be used in a critical context within a presentation, classroom session , paper/thesis, or a publication* as follows:

[Figure 4. Genex Tower, also known as West City Gate, is a residential tower located in New Belgrade. This example of late 20th century brutalist-style architecture was designed in 1977 by Mihajlo Mitrović. Photographed by the author in 2013.]

*Please note, if you re-photographed someone else's photograph or a work of art, or if you re-photographed a published image, you may not be able to publish your photograph without first seeking permission or credit for its content. If you have done due diligence and were unable to find the source or have not received a response, you may be able to use your image with appropriate documentation.

<< Previous: Fair Use
Next: Finding Images - Select Sources >>
Last Updated: Jan 19, 2023 3:12 PM
URL: https://libguides.usc.edu/fair_use

APA Citation Style, 7th edition: Electronic Image

General Style Guidelines
One Author or Editor
Two Authors or Editors
Three to Five Authors or Editors
Article or Chapter in an Edited Book
Article in a Reference Book
Edition other than the First
Translation
Government Publication
Journal Article with 1 Author
Journal Article with 2 Authors
Journal Article with 3–20 Authors
Journal Article 21 or more Authors
Magazine Article
Newspaper Article
Basic Web Page
Web page from a University site
Web Page with No Author
Entry in a Reference Work
Government Document
Film and Television
Youtube Video
Audio Podcast
Electronic Image
Twitter/Instagram
Lecture/PPT
Conferences
Secondary Sources
Citation Support
Avoiding Plagiarism
Formatting Your Paper

Helpful Tip!

Where can I go to find images?

If you locate an image online you need to determine who the source is as well as the copyright restrictions.

See our Images Research Guide for more information on Images and Copyright.

Below are a few good places to locate online images.

NOTE: Although some images are in the Public Domain and do not require attribution, you should always follow your instructor's requirements for citing images.

Center for Disease Control (CDC) Public Health Image Library (PHIL)
Health Education Assets Library (HEAL) Collection
Historical Anatomies on the Web
Medical Gallery: Hardin MD site
National Cancer Institute: Visuals Online
National Human Genome Research Institute: Digital Media Database
National Library of Medicine:Images from the History of Medicine
NIDDK image library
Photoshare (USAID)
Wellcome images
Wikimedia Commons
Yale Image Finder

Image from an Electronic Source

Images, diagrams and artistic works should be cited as you would cite any other type of work.

Images in text are also generally accompanied by a caption that includes copyright information and a statement of permission for use. Please check with your instructor to see if this is necessary.

Tip: You should give as much information as possible about the images that you have used, including these basics:

creator's name (author, artist, photographer etc.)
date the work was published or created
title of the work
place of publication
type of material (for photographs, charts, online images)
website address and access date
name of the institution or museum where the work is located (for artworks and museum exhibits)
dimensions of the work (for artworks)

General Format

In-Text Citation (Paraphrase):

(Artist Surname, Year)

In-Text Citation (Quotation):

References:

Artist Surname, First Initial. Second Initial. (Year). Title of the artwork [Format]. Title of the Website. URL (address of web site)

References (No Author):

Title of work [Type of work]. (Year image was created). Title of the Website. URL (address of web site)

References (No Author, No Title, No Date):

[Subject and type of work]. Title of the Website. URL (address of web site)

Many images found on the Web fall under this category. Try to locate the missing information by clicking on the image, and/or looking at the bottom of the image.

(Baumel, 2010)

References (Basic):

Baumel, A. (2010). Cholera treatment center in Haiti [Online image]. Doctors Without Borders. https://www.doctorswithoutborders.org

Flu epidemic [Online image]. (1919). History. http://www.history.net/photo/flu-epidemic-art/collections

[Untitled illustration of a sleeping dog]. Sleeping Animals. http://www.sleepinganimals/pix.com

Subject Guide

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Next: Figures >>

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Referencing styles and applications

APA 7th Referencing Style Guide

Figures (graphs and images)
Referencing & APA style
In-text citation
Elements of a reference
Format & examples of a reference list
Conferences
Reports & grey literature

General guidelines

From a book, from an article, from a library database, from a website, citing your own work.

Theses and dissertations
Audio works
Films, TV & video
Visual works
Computer software, games & apps
Lecture notes & Intranet resources
Legal resources
Personal communications
PowerPoint slides
Social media
Specific health examples
Standards & patents
Websites & webpages
Footnotes and appendices
Frequently asked questions

A figure may be a chart, a graph, a photograph, a drawing, or any other illustration or nontextual depiction. Any type of illustration or image other than a table is referred to as a figure.

Figure Components

Number: The figure number (e.g., Figure 1 ) appears above the figure in bold (no period finishing).
Title: The figure title appears one double-spaced line below the figure number in Italic Title Case (no period finishing).
Image: The image portion of the figure is the chart, graph, photograph, drawing, or illustration itself.
Legend: A figure legend, or key, if present, should be positioned within the borders of the figure and explain any symbols used in the figure image.
Note: A note may appear below the figure to describe contents of the figure that cannot be understood from the figure title, image, and/or legend alone (e.g., definitions of abbreviations, copyright attribution). Not all figures include notes. Notes are flush left, non-italicised. If present they begin with Note. (italicised, period ending). The notes area will include reference information if not an original figure, and copyright information as required.

General rules

In the text, refer to every figure by its number, no italics, but with a capital "F" for "Figure". For example, "As shown in Figure 1, ..."
There are two options for the placement of figures in a paper. The first option is to place all figures on separate pages after the reference list. The second option is to embed each figure within the text.
If you reproduce or adapt a figure from another source (e.g., an image you found on the internet), you should include a copyright attribution in the figure note, indicating the origin of the reproduced or adapted material, in addition to a reference list entry for the work. Include a permission statement (Reprinted or Adapted with permission) only if you have sought and obtained permission to reproduce or adapt material in your figure. A permission statement is not required for material in the public domain or openly licensed material. For student course work, AUT assignments and internal assessments, a permission statement is also not needed, but copyright attribution is still required.
Important note for postgraduate students and researchers: If you wish to reproduce or adapt figures that you did not create yourself in your thesis, dissertation, exegesis, or other published work, you must obtain permission from the copyright holder/s, unless the figure is in the public domain (copyright free), or licensed for use with a Creative Commons or other open license. Works under a Creative Commons licence should be cited accordingly. See Using works created by others for more information.

Please check the APA style website for an illustration of the basic figure component & placement of figure in a text.

More information & examples from the APA Style Manual , s. 7.22-7.36, pp. 225–250

Figure reproduced in your text

Note format - for notes below the figure

In-text citation:

Reference list entry:

Referring to a figure in a book

If you refer to a figure included in a book but do not include it in your text, format the in-text citation and the reference list entry in the usual way, citing the page number where the figure appears.

Note format - for notes below the figure

Referring to a figure in an article

If you refer to a figure in an article but do not include it in your text, format the in-text citation and the reference list entry in the usual way for an article, citing the page number where the figure appears.

Note format - for notes below the figure

Reference list:

Referring to a figure on a webpage

If you refer to a figure on a webpage and do not include it in your text, format the in-text citation and the reference list entry in the usual way for a webpage,

Not every reference to an artwork needs a reference list entry. For example, if you refer to a famous painting, as below, it would not need a reference.

Finding image details for your figure caption or reference

clicking on or hovering your mouse over the image
looking at the bottom of the image
looking at the URL
If there is no title, create a short descriptive one yourself and put it in square brackets e.g. [...]
For more guidance, see Visual works

If it has been formally published reference your work as you would any other published work.

If the work is available on a website reference it as a webpage (see examples in the webpage section ).

Citing your own figures, graphs or images in an assignment:

Include the title
Add a note explaining the content. No copyright attribution is required.
You can, if you wish, add a statement that it is your own work
You do not need an in-text citation or add it to your reference list
See example in APA manual p.247, Figure 7.17 Sample photograph

Great Barrier Island

Note. Photo of Great Barrier Island taken from Orewa at sunrise. Own work.

<< Previous: Reports & grey literature
Next: Tables >>
Last Updated: May 10, 2024 8:35 AM
URL: https://aut.ac.nz.libguides.com/APA7th

Citation Styles

Citing and referencing figures / images (APA 7th)
How to cite Gen AI content in APA style
Citing and Referencing in ASA 7th
How to cite Gen AI content in Chicago Style
Citing and referencing figures / images (IEEE)

In-text citation and references

How to cite Gen AI content in IEEE Style
How to cite Gen AI content in MLA Style
Legal Citations
ACS Citation Style

Citations of figures / images in the paper must be in numerical order. Place it below the figure / image.

Citations to figures in text always carry the abbreviation “Fig.” followed by the figure number. The figure number must have a period after it. Then comes the caption followed by Adapted from [the number in the reference list in which you provide the details of the source]. The first word of the caption should be capitalized. Do not use A, An, or The at the beginning of a figure or table caption.

Fig. 1. Footwear collected from the shorelines of Midway Atoll. Adapted from [x]

Fig. 1. Footwear collected from the shorelines of Midway Atoll. Adapted from [2]

a) In the reference list give the details of the source, the webpage from which the image is taken in IEEE citation style (IEEE Reference Guide 2018).

[2] NOAA Photo Library. “fis01484." Flickr.com. https://www.flickr.com/photos/noaaphotolib/27889266330/in/album-72157670783471385/ (accessed Oct. 3, 2021).

or b) Cite the image as Artwork in IEEE citation style.

[2] NOAA Photo Library, fis01484. 2013. Accessed: Aug. 22, 2023. [Photo]. Available: https://www.flickr.com/photos/noaaphotolib/27889266330/

Acknowledgement for the use of the photograph used in the example:

We acknowledge the use of the photograph fis01484 by Kristen Kelly, taken from https://www.flickr.com/photos/noaaphotolib/27889266330/in/album-72157670783471385/ under CC BY 2.0

<< Previous: IEEE
Next: How to cite Gen AI content in IEEE Style >>
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Why Scientific Fraud Is Suddenly Everywhere

Junk science has been forcing a reckoning among scientific and medical researchers for the past year, leading to thousands of retracted papers. Last year, Stanford president Marc Tessier-Lavigne resigned amid reporting that some of his most high-profile work on Alzheimer’s disease was at best inaccurate. (A probe commissioned by the university’s board of trustees later exonerated him of manipulating the data).

But the problems around credible science appear to be getting worse. Last week, scientific publisher Wiley decided to shutter 19 scientific journals after retracting 11,300 sham papers. There is a large-scale industry of so-called “paper mills” that sell fictive research, sometimes written by artificial intelligence, to researchers who then publish it in peer-reviewed journals — which are sometimes edited by people who had been placed by those sham groups. Among the institutions exposing such practices is Retraction Watch, a 14-year-old organization co-founded by journalists Ivan Oransky and Adam Marcus. I spoke with Oransky about why there has been a surge in fake research and whether fraud accusations against the presidents of Harvard and Stanford are actually good for academia.

Give me a sense of how big a problem these paper mills are.

I’ll start by saying that paper mills are not the problem; they are a symptom of the actual problem. Adam Marcus, my co-founder, had broken a really big and frightening story about a painkiller involving scientific fraud , which led to dozens of retractions. That’s what got us interested in that. There were all these retractions, far more than we thought but far fewer than there are now. Now, they’re hiding in plain sight.

That was 2010. Certainly, AI has accelerated things, but we’ve known about paper mills for a long time. Everybody wanted to pretend all these problems didn’t exist. The problems in scientific literature are long-standing, and they’re an incentive problem. And the metrics that people use to measure research feed a business model — a ravenous sort of insatiable business model. Hindsight is always going to be 20/20, but a lot of people actually were predicting what we’re seeing now.

Regarding your comment that paper mills are symptoms of a larger problem, I read this story in Science and was struck by the drive for credentialing — which gets you better jobs, higher pay, and more prestige. In academia, there aren’t enough jobs; are the hurdles to these jobs impossibly high, especially for people who may be smart but are from China or India and may not have entry into an American or European university?

I actually would go one step higher. When you say there aren’t enough jobs, it’s because we’re training so many Ph.D.’s and convincing them all that the only way to remain a scientist is to stay in academia. It’s not, and that hasn’t been true for a long time. So there’s definitely a supply-and-demand problem, and people are going to compete.

You may recall the story about high-school students who were paying to get medical papers published in order to get into college. That’s the sort of level we’re at now. It’s just pervasive. People are looking only at metrics, not at actual papers. We’re so fixated on metrics because they determine funding for a university based on where it is in the rankings. So it comes from there and then it filters down. What do universities then want? Well, they want to attract people who are likely to publish papers. So how do you decide that? “Oh, you’ve already published some papers, great. We’re gonna bring you in.” And then when you’re there, you’ve got to publish even more.

You’re replacing actual findings and science and methodology and the process with what I would argue are incredibly misleading — even false — metrics. Paper mills are industrializing it. This is like the horse versus the steam engine.

So they’re Moneyballing it.

Absolutely. They’ve Moneyballed it with a caveat: Moneyball sort of worked. The paper mills have metricized it, which is not as sexy to say. If you were to isolate one factor, citations matter the most, and if you look at the ranking systems, it’s all right there. The Times Higher Education world-university rankings , U.S. News — look at whichever you want, and somewhere between like 30 percent and 60 percent of those rankings are based on citations. Citations are so easy to game. So people are setting up citation cartels: “Yes, we will get all of our other clients to cite you, and nobody will notice because we’re doing it in this algorithmic, mixed-up way.” Eventually, people do notice, but it’s the insistence on citations as the coin of the realm that all of this comes from.

Your work gets to the heart of researchers’ integrity. Do you feel like you’re a pariah in the scientific community?

I’m a volunteer. Adam is paid a very small amount. We use our funding to pay two reporters and then two people work on our database side. We approach these things journalistically; we don’t actually identify the problems ourselves. It’s very, very rare for us to do that. Even when it may appear that way on a superficial read — we’ve broken some stories recently about clear problems in literature — it’s always because a source showed us the way. Sometimes those sources want to be named, sometimes they don’t.

We’ve been doing this for 14 years. There are various ways to look at what the scientific community thinks of us. We’re publishing 100 posts a year about people committing bad behavior and only getting, on average, one cease-and-desist letter a year. We have never been sued, but we do carried defamation insurance. Our work is cited hundreds of times in the scientific literature. I definitely don’t feel like a pariah. Me saying I’m a pariah would be a little bit like, you know, someone whose alleged cancellation has promoted them to the top of Twitter.

People are unhappy that we have do what we do. If you talk to scientists, the things we’re exposing or others are exposing are well known to them. Because of the structures, the hierarchies, and the power differentials in science, it’s very difficult for them as insiders to blow the whistle. There’s a book out by Carl Elliott about whistleblowers , mostly in the sort of more clinical fields. That’s the vulnerable position. That’s where you end up being a pariah even though you should be considered a hero or heroine.

Are some fields better at policing their own research than others?

Yes. Going back to the origin story of Retraction Watch, Adam broke a story about this guy named Scott Reuben, who came from anesthesiology. We have a leaderboard of the people with the most retractions in the world, and at least three out of the top ten right now are anesthesiologists. That is a much higher percentage than one might expect. Some people may say, “Oh, does anesthesiology have a problem?” No, in fact, anesthesiology has been doing something about this arguably longer than any other field has.

What is it about anesthesiology that makes it so anesthesiologists are more willing to scrutinize the work in their own field?

It had a crisis earlier than others, and it’s small. Journal editors are generally considered pretty august personages, leaders in the field. They got together and it was like a collective action by the journal editors when they realized they had problems. I’m not saying anesthesiologists are better, but they’re a more tight-knit community, which I do think is important. The same thing happened in social psychology and in psychology writ large. There’s a higher number than you would expect of people on leaderboards in that field. So it’s a question of, When did they get there, and how did they react to it? There are fields that haven’t actually gotten there, even though it’s been a while. So maybe there are some sociologists who could tell you better than me why that might be the case.

That wasn’t the reason I expected. I thought you would say something along the lines of, well, it’s life or death and anesthesiologists don’t want to see people dying on the table.

If anything, sometimes when the stakes are higher, fields are more resistant.

There’s a guy named Ben Mol. Ben is an OB/GYN, and he is a force to be reckoned with. Fascinating character. He’s a pit bull, and he has found tons and tons of problems in the OB/GYN literature. I would characterize the leaders in that field now as still a bit more reluctant to engage with these issues than some of the other fields I mentioned.

Can you tell me how you go about authenticating real language from AI, especially in papers that can be hard to parse and are laden with jargon to begin with?

We rely on experts. We’re not really doing that ourselves. You don’t need to be an expert; you just need to know how to use Ctrl+F if you see certain phrases in a paper. And by the way, a lot of journals are perfectly fine with people using chat GPT and other kinds of AI. It’s just whether you disclose it or not. These are cases where they didn’t disclose it.

With the resignation of Stanford’s and Harvard’s presidents, do you worry about the way the general public has been using these tools?

The fact that they’re giving speeding tickets to certain groups of people doesn’t mean we’re not all speeding. It means they’re getting targeted in, I would argue, an unfair way. We’re in a great reckoning with Harvard’s Claudine Gay being the key example. Former Stanford president Marc Tessier-Lavigne is not an example of that. The targeting is a concern. And clearly, there are false positives. The flip side of this is that AI is being used to find these problems.

This interview has been edited for length and clarity. The story was updated to include that a probe found that Tessier-Lavigne didn’t manipulate data.

just asking questions

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Home / Guides / Citation Guides / How to Cite Sources / Citing Google Images in MLA

Citing Google Images in MLA

Citing an image.

To cite an image found through Google using the image-search function or through searching Google Images, identify the website where the image was originally posted. Cite the image as though you found it on the original website where it was posted. To find the publisher’s details, this means clicking through to the site with the image.

Do not list Google Images in the container slot since Google isn’t the original publisher of the image. If the image has no official title, create a short description of your own.

Image Citation Templates (MLA 9):

Image viewed online:.

Artist Last Name, First Name or Organization Name (if available). Image Title or Image description. Year Created. Website Title , URL.

Imaged viewed online in a publication:

Artist Last Name, First Name or Organization Name (if available). “Image Title” or Photograph of image description. “Webpage Title,” by Webpage Author Name, Day Month Year. Website Title , URL.

Illustration viewed online:

Artist Last Name, First Name or Organization Name (if available). “Illustration Title.” Website Title , Date, URL.

*Note: Make sure you use the name of the website where the image is posted, not just Google or Google Images.

Image Citation Examples (MLA 9):

Banksy. Show Me the Monet . 2005. Sotheby’s, https://www.sothebys.com/en/buy/auction/2020/contemporary-art-evening-auction-2/banksy-show-me-the-monet?locale=en

Photograph of Swiss tourists getting a very close look at an elephant. “Swiss Couple on Safari Has Close Encounters of the Elephant Kind.” The London Telegraph, 13 May 2008, https://www.telegraph.co.uk/news/newstopics/howaboutthat/1952452/Swiss-couple-on-safari-has-close-encounters-of-the-elephant-kind.html

Reuter, Matt. Cartoon. The New Yorker , 8 July 2022, https://www.newyorker.com/cartoons/daily-cartoon/friday-july-8th-rental-woes

Image In-text Citation Templates (MLA 9):

For in-text citations, use either the artist’s last name in parentheses or the image’s title or description. The title/description should be shortened to the first noun phrase in parenthetical citations. The parenthetical citation should always match the first item in the full reference on your Works Cited page.

(Artist Last Name)

(Shortened Image Title)

(Shortened Image Description)

Image In-text Citation Examples (MLA 9):

(Photograph)

Citation Guides

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In-text Citations
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You will need the name of the image creator, the image title or an image description, the year of publication, the name of the publisher or website, and the URL (if it’s online). Here are two examples:

MLA : Johnson, Herbert. Critical Moments . 1921. Library of Congress, www.loc.gov/resource/acd.2a09222/.

APA : Johnson, H. (1921). Critical moments [Photograph]. Library of Congress. https://www.loc.gov/resource/acd.2a09222/

See this guide for more information on citing an image in APA .

Image with no author in APA style

To cite an image with no author in APA style, it is important that you know some basic information, such as the title of the image, publication date, publisher/museum/gallery name, physical location, and/or a URL.

Cite the source by its title. If the title is long, shorten it to a word or two for the in-text citation. Move the title of the work to the author position (followed by a period) before the publication date. If the title is italicized in the reference, also italicize the title in the in-text citation. If the title isn’t italicized in the reference, use double quotation marks around it. Capitalize the titles using title case, even when the reference entry uses sentence case.

Templates and examples for in-text citations and a reference list entry of an image without an author are below:

In-text citation template and examples:

Title of the Image (Publication Year) …

Royal Palace (1897) …

Parenthetical:

( Title of the Image , Publication Year).

( Royal Palace, Fontainebleau, France , 1897).

Reference list entry template and example:

In the reference list entry, set the title in italics and sentence case. Include the image’s medium inside square brackets after the date. Use “Image” unless you know a more specific medium, such as “Photograph” or “Clip art.” Do not use a period after the URL.

Viewed online:

Title of the image . (Publication Year). [Medium]. Publisher Name. URL

Royal palace, Fontainebleau, France. (1897). [Photograph]. Library of Congress. https://www.loc.gov/item/2019640696/

Viewed in person:

Title of the image . (Publication Year). [Medium]. Museum/Gallery Name, City, State Abbreviation, Country Name. URL

Royal palace, Fontainebleau, France. (1897). [Photograph]. Art Institute of Chicago, Chicago, IL, United States. https://www.loc.gov/item/2019640696/

Image with no author in MLA style

To cite an image with no author in MLA style, it is important that you know some basic information, such as the title of the image, publication date, publisher/museum/gallery name, physical location, and/or a URL.

Cite the source by its title. If the title is long, shorten it to its most basic noun phrase. Move the title of the work to the author position (followed by a period) before the publication date. If the title is italicized in the reference, also italicize the title in the in-text citation. Capitalize the titles using title case.

Citation in prose:

Title of the Image …

… (Title of the Image ).

…. ( Mosaics ).

Works-cited-list entry template and example:

Title of the Image. Publication Date. Name of the Website . URL.

Mosaics from Ancient Times to the Modern World . 16 Dec. 2015. Decoded Past . www.decodedpast.com/art-in-history/.

Title of the Image. Publication Date. Museum/Gallery Name, City Name.

Mosaics from Ancient Times to the Modern World . 16 Dec. 2015. Metropolitan Museum of Art, New York City.

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Open access
Published: 16 May 2024

The Egyptian pyramid chain was built along the now abandoned Ahramat Nile Branch

Eman Ghoneim ORCID: orcid.org/0000-0003-3988-0335 1 ,
Timothy J. Ralph ORCID: orcid.org/0000-0002-4956-606X 2 ,
Suzanne Onstine 3 ,
Raghda El-Behaedi 4 ,
Gad El-Qady 5 ,
Amr S. Fahil 6 ,
Mahfooz Hafez 5 ,
Magdy Atya 5 ,
Mohamed Ebrahim ORCID: orcid.org/0000-0002-4068-5628 5 ,
Ashraf Khozym 5 &
Mohamed S. Fathy 6

Communications Earth & Environment volume 5 , Article number: 233 ( 2024 ) Cite this article

102k Accesses

1 Citations

2215 Altmetric

Metrics details

Archaeology
Geomorphology
Hydrogeology
Sedimentology

The largest pyramid field in Egypt is clustered along a narrow desert strip, yet no convincing explanation as to why these pyramids are concentrated in this specific locality has been given so far. Here we use radar satellite imagery, in conjunction with geophysical data and deep soil coring, to investigate the subsurface structure and sedimentology in the Nile Valley next to these pyramids. We identify segments of a major extinct Nile branch, which we name The Ahramat Branch, running at the foothills of the Western Desert Plateau, where the majority of the pyramids lie. Many of the pyramids, dating to the Old and Middle Kingdoms, have causeways that lead to the branch and terminate with Valley Temples which may have acted as river harbors along it in the past. We suggest that The Ahramat Branch played a role in the monuments’ construction and that it was simultaneously active and used as a transportation waterway for workmen and building materials to the pyramids’ sites.

A unifying modelling of multiple land degradation pathways in Europe

Critical transitions in the Amazon forest system

Potential for rupture before eruption at Campi Flegrei caldera, Southern Italy

Introduction.

The landscape of the northern Nile Valley in Egypt, between Lisht in the south and the Giza Plateau in the north, was subject to a number of environmental and hydrological changes during the past few millennia 1 , 2 . In the Early Holocene (~12,000 years before present), the Sahara of North Africa transformed from a hyper-arid desert to a savannah-like environment, with large river systems and lake basins 3 , 4 due to an increase in global sea level at the end of the Last Glacial Maximum (LGM). The wet conditions of the Sahara provided a suitable habitat for people and wildlife, unlike in the Nile Valley, which was virtually inhospitable to humans because of the constantly higher river levels and swampy environment 5 . At this time, Nile River discharge was high, which is evident from the extensive deposition of organic-rich fluvial sediment in the Eastern Mediterranean basin 6 . Based on the interpretation of archeological material and pollen records, this period, known as the African Humid Period (AHP) (ca. 14,500–5000 years ago), was the most significant and persistent wet period from the early to mid-Holocene in the eastern Sahara region 7 , with an annual rainfall rate of 300–920 mm yr −1 8 . During this time the Nile would have had several secondary channels branching across the floodplain, similar to those described by early historians (e.g., Herodotus).

During the mid-Holocene (~10,000–6000 years ago), freshwater marshes were common within the Nile floodplain causing habitation to be more nucleated along the desert margins of the Nile Valley 9 . The desert margins provided a haven from the high Nile water. With the ending of the AHP and the beginning of the Late Holocene (~5500 years ago to present), rainfall greatly declined, and the region’s humid phase gradually came to an end with punctuated short wet episodes 10 . Due to increased aridity in the Sahara, more people moved out of the desert towards the Nile Valley and settled along the edge of the Nile floodplain. With the reduced precipitation, sedimentation increased in and around the Nile River channels causing the proximal floodplain to rise in height and adjacent marshland to decrease in the area 11 , 12 estimated the Nile flood levels to have ranged from 1 to 4 m above the baseline (~5000 BP). Inhabitants moved downhill to the Nile Valley and settled in the elevated areas on the floodplain, including the raised natural levees of the river and jeziras (islands). This was the beginning of the Old Kingdom Period (ca. 2686 BCE) and the time when early pyramid complexes, including the Step Pyramid of Djoser, were constructed at the margins of the floodplain. During this time the Nile discharge was still considerably higher than its present level. The high flow of the river, particularly during the short-wet intervals, enabled the Nile to maintain multiple branches, which meandered through its floodplain. Although the landscape of the Nile floodplain has greatly transformed due to river regulation associated with the construction of the Aswan High Dam in the 1960s, this region still retains some clear hydro-geomorphological traces of the abandoned river channels.

Since the beginning of the Pharaonic era, the Nile River has played a fundamental role in the rapid growth and expansion of the Egyptian civilization. Serving as their lifeline in a largely arid landscape, the Nile provided sustenance and functioned as the main water corridor that allowed for the transportation of goods and building materials. For this reason, most of the key cities and monuments were in close proximity to the banks of the Nile and its peripheral branches. Over time, however, the main course of the Nile River laterally migrated, and its peripheral branches silted up, leaving behind many ancient Egyptian sites distant from the present-day river course 9 , 13 , 14 , 15 . Yet, it is still unclear as to where exactly the ancient Nile courses were situated 16 , and whether different reaches of the Nile had single or multiple branches that were simultaneously active in the past. Given the lack of consensus amongst scholars regarding this subject, it is imperative to develop a comprehensive understanding of the Nile during the time of the ancient Egyptian civilization. Such a poor understanding of Nile River morphodynamics, particularly in the region that hosts the largest pyramid fields of Egypt, from Lisht to Giza, limits our understanding of how changes in the landscape influenced human activities and settlement patterns in this region, and significantly restricts our ability to understand the daily lives and stories of the ancient Egyptians.

Currently, much of the original surface of the ancient Nile floodplain is masked by either anthropogenic activity or broad silt and sand sheets. For this reason, singular approaches such as on-ground searches for the remains of hidden former Nile branches are both increasingly difficult and inauspicious. A number of studies have already been carried out in Egypt to locate segments of the ancient Nile course. For instance 9 , proposed that the axis of the Nile River ran far west of its modern course past ancient cities such as el-Ashmunein (Hermopolis) 13 . mapped the ancient hydrological landscape in the Luxor area and estimated both an eastward and westward Nile migration rate of 2–3 km per 1000 years. In the Nile Delta region 17 , detected several segments of buried Nile distributaries and elevated mounds using geoelectrical resistivity surveys. Similarly, a study by Bunbury and Lutley 14 identified a segment of an ancient Nile channel, about 5000 years old, near the ancient town of Memphis ( men-nefer ). More recently 15 , used cores taken around Memphis to reveal a section of a lateral ancient Nile branch that was dated to the Neolithic and Predynastic times (ca. 7000–5000 BCE). On the bank of this branch, Memphis, the first capital of unified Egypt, was founded in early Pharaonic times. Over the Dynastic period, this lateral branch then significantly migrated eastwards 15 . A study by Toonen et al. 18 , using borehole data and electrical resistivity tomography, further revealed a segment of an ancient Nile branch, dating to the New Kingdom Period, situated near the desert edge west of Luxor. This river branch would have connected important localities and thus played a significant role in the cultural landscape of this area. More recent research conducted further north by Sheisha et al. 2 , near the Giza Plateau, indicated the presence of a former river and marsh-like environment in the floodplain east of the three great Pyramids of Giza.

Even though the largest concentration of pyramids in Egypt are located along a narrow desert strip from south Lisht to Giza, no explanation has been offered as to why these pyramid fields were condensed in this particular area. Monumental structures, such as pyramids and temples, would logically be built near major waterways to facilitate the transportation of their construction materials and workers. Yet, no waterway has been found near the largest pyramid field in Egypt, with the Nile River lying several kilometers away. Even though many efforts to reconstruct the ancient Nile waterways have been conducted, they have largely been confined to small sites, which has led to the mapping of only fragmented sections of the ancient Nile channel systems.

In this work, we present remote sensing, geomorphological, soil coring and geophysical evidence to support the existence of a long-lost ancient river branch, the Ahramat Branch, and provide the first map of the paleohydrological setting in the Lisht-Giza area. The finding of the Ahramat Branch is not only crucial to our understanding of why the pyramids were built in these specific geographical areas, but also for understanding how the pyramids were accessed and constructed by the ancient population. It has been speculated by many scholars that the ancient Egyptians used the Nile River for help transporting construction materials to pyramid building sites, but until now, this ancient Nile branch was not fully uncovered or mapped. This work can help us better understand the former hydrological setting of this region, which would in turn help us learn more about the environmental parameters that may have influenced the decision to build these pyramids in their current locations during the time of Pharaonic Egypt.

Position and morphology of the Ahramat Branch

Synthetic Aperture Radar (SAR) imagery and radar high-resolution elevation data for the Nile floodplain and its desert margins, between south Lisht and the Giza Plateau area, provide evidence for the existence of segments of a major ancient river branch bordering 31 pyramids dating from the Old Kingdom to Second Intermediate Period (2686−1649 BCE) and spanning between Dynasties 3–13 (Fig. 1a ). This extinct branch is referred to hereafter as the Ahramat Branch, meaning the “Pyramids Branch” in Arabic. Although masked by the cultivated fields of the Nile floodplain, subtle topographic expressions of this former branch, now invisible in optical satellite data, can be traced on the ground surface by TanDEM-X (TDX) radar data and the Topographic Position Index (TPI). Data analysis indicates that this lateral distributary channel lies between 2.5 and 10.25 km west from the modern Nile River. The branch appears to have a surface channel depth between 2 and 8 m, a channel length of about 64 km and a channel width of 200–700 m, which is similar to the width of the contemporary neighboring Nile course. The size and longitudinal continuity of the Ahramat Branch and its proximity to all the pyramids in the study area implies a functional waterway of great significance.

a Shows the Ahramat Branch borders a large number of pyramids dating from the Old Kingdom to the 2 nd Intermediate Period and spanning between Dynasties 3 and 13. b Shows Bahr el-Libeini canal and remnant of abandoned channel visible in the 1911 historical map (Egyptian Survey Department scale 1:50,000). c Bahr el-Libeini canal and the abandoned channel are overlain on satellite basemap. Bahr el-Libeini is possibly the last remnant of the Ahramat Branch before it migrated eastward. d A visible segment of the Ahramat Branch in TDX is now partially occupied by the modern Bahr el-Libeini canal. e A major segment of the Ahramat Branch, approximately 20 km long and 0.5 km wide, can be traced in the floodplain along the Western Desert Plateau south of the town of Jirza. Location of e is marked in white a box in a . (ESRI World Image Basemap, source: Esri, Maxar, Earthstar Geographics).

A trace of a 3 km river segment of the Ahramat Branch, with a width of about 260 m, is observable in the floodplain west of the Abu Sir pyramids field (Fig. 1b–d ). Another major segment of the Ahramat Branch, approximately 20 km long and 0.5 km wide can be traced in the floodplain along the Western Desert Plateau south of the town of Jirza (Fig. 1e ). The visible segments of the Ahramat Branch in TDX are now partially occupied by the modern Bahr el-Libeini canal. Such partial overlap between the courses of this canal, traced in the1911 historical maps (Egyptian Survey Department scale 1:50,000), and the Ahramat Branch is clear in areas where the Nile floodplain is narrower (Fig. 1b–d ), while in areas where the floodplain gets wider, the two water courses are about 2 km apart. In light of that, Bahr el-Libeini canal is possibly the last remnant of the Ahramat Branch before it migrated eastward, silted up, and vanished. In the course of the eastward migration over the Nile floodplain, the meandering Ahramat Branch would have left behind traces of abandoned channels (narrow oxbow lakes) which formed as a result of the river erosion through the neck of its meanders. A number of these abandoned channels can be traced in the 1911 historical maps near the foothill of the Western Desert plateau proving the eastward shifting of the branch at this locality (Fig. 1b–d ). The Dahshur Lake, southwest of the city of Dahshur, is most likely the last existing trace of the course of the Ahramat Branch.

Subsurface structure and sedimentology of the Ahramat Branch

Geophysical surveys using Ground Penetrating Radar (GPR) and Electromagnetic Tomography (EMT) along a 1.2 km long profile revealed a hidden river channel lying 1–1.5 m below the cultivated Nile floodplain (Fig. 2 ). The position and shape of this river channel is in an excellent match with those derived from radar satellite imagery for the Ahramat Branch. The EMT profile shows a distinct unconformity in the middle, which in this case indicates sediments that have a different texture than the overlying recent floodplain silt deposits and the sandy sediments that are adjacent to this former branch (Fig. 2 ). GPR overlapping the EMT profile from 600–1100 m on the transect confirms this. Here, we see evidence of an abandoned riverbed approximately 400 m wide and at least 25 m deep (width:depth ratio ~16) at this location. This branch has a symmetrical channel shape and has been infilled with sandy Neonile sediment different to other surrounding Neonile deposits and the underlying Eocene bedrock. The geophysical profile interpretation for the Ahramat Branch at this locality was validated using two sediment cores of depths 20 m (Core A) and 13 m (Core B) (Fig. 3 ). In Core A between the center and left bank of the former branch we found brown sandy mud at the floodplain surface and down to ~2.7 m with some limestone and chert fragments, a reddish sandy mud layer with gravel and handmade material inclusions at ~2.8 m, a gray sandy mud layer from ~3–5.8 m, another reddish sandy mud layer with gravel and freshwater mussel shells at ~6 m, black sandy mud from ~6–8 m, and sandy silt grading into clean, well-sorted medium sand dominated the profile from ~8 to >13 m. In Core B on the right bank of the former branch we found recently deposited brown sandy mud at the floodplain surface and down to ~1.5 m, alternating brown and gray layers of silty and sandy mud down to ~4 m (some reddish layers with gravel and handmade material inclusions), a black sandy mud layer from ~4–4.9 m, and another reddish sandy mud layer with gravel and freshwater mussel shells at ~5 m, before clean, well-sorted medium sand dominated the profile from 5 to >20 m. Shallow groundwater was encountered in both cores concurrently with the sand layers, indicating that the buried sedimentary structure of the abandoned Ahramat Branch acts as a conduit for subsurface water flow beneath the distal floodplain of the modern Nile River.

a Locations of geophysical profile and soil drilling (ESRI World Image Basemap, source: Esri, Maxar, Earthstar Geographics). Photos taken from the field while using the b Electromagnetic Tomography (EMT) and c Ground Penetrating Radar (GPR). d Showing the apparent conductivity profile, e showing EMT profile, and f showing GPR profiles with overlain sketch of the channel boundary on the GPR graph. g Simplified interpretation of the buried channel with the location of the two-soil coring of A and B.

It shows two-soil cores, A and core B, with soil profile descriptions, graphic core logs, sediment grain size charts, and example photographs.

Alignment of old and middle kingdom pyramids to the Ahramat Branch

The royal pyramids in ancient Egypt are not isolated monuments, but rather joined with several other structures to form complexes. Besides the pyramid itself, the pyramid complex includes the mortuary temple next to the pyramid, a valley temple farther away from the pyramid on the edge of a waterbody, and a long sloping causeway that connects the two temples. A causeway is a ceremonial raised walkway, which provides access to the pyramid site and was part of the religious aspects of the pyramid itself 19 . In the study area, it was found that many of the causeways of the pyramids run perpendicular to the course of the Ahramat Branch and terminate directly on its riverbank.

In Egyptian pyramid complexes, the valley temples at the end of causeways acted as river harbors. These harbors served as an entry point for the river borne visitors and ceremonial roads to the pyramid. Countless valley temples in Egypt have not yet been found and, therefore, might still be buried beneath the agricultural fields and desert sands along the riverbank of the Ahramat Branch. Five of these valley temples, however, partially survived and still exist in the study area. These temples include the valley temples of the Bent Pyramid, the Pyramid of Khafre, and the Pyramid of Menkaure from Dynasty 4; the valley temple of the Pyramid of Sahure from Dynasty 5, and the valley temple of the Pyramid of Pepi II from Dynasty 6. All the aforementioned temples are dated to the Old Kingdom. These five surviving temples were found to be positioned adjacent to the riverbank of the Ahramat Branch, which strongly implies that this river branch was contemporaneously functioning during the Old Kingdom, at the time of pyramid construction.

Analysis of the ground elevation of the 31 pyramids and their proximity to the floodplain, within the study area, helped explain the position and relative water level of the Ahramat Branch during the time between the Old Kingdom and Second Intermediate Period (ca. 2649–1540 BCE). Based on Fig. ( 4) , the Ahramat Branch had a high-water level during the first part of the Old Kingdom, especially during Dynasty 4. This is evident from the high ground elevation and long distance from the floodplain of the pyramids dated to that period. For instance, the remote position of the Bent and Red Pyramids in the desert, very far from the Nile floodplain, is a testament to the branch’s high-water level. On the contrary, during the Old Kingdom, our data demonstrated that the Ahramat Branch would have reached its lowest level during Dynasty 5. This is evident from the low altitudes and close proximity to the floodplain of most Dynasty 5 pyramids. The orientation of the Sahure Pyramid’s causeway (Dynasty 5) and the location of its valley temple in the low-lying floodplain provide compelling evidence for the relatively low water level proposition of the Ahramat Branch during this stage. The water level of the Ahramat Branch would have been slightly raised by the end of Dynasty 5 (the last 15–30 years), during the reign of King Unas and continued to rise during Dynasty 6. The position of Pepi II and Merenre Pyramids (Dynasty 6) deep in the desert, west of the Djedkare Isesi Pyramid (Dynasty 5), supports this notion.

It explains the position and relative water level of the Ahramat Branch during the time between the Old Kingdom and Second Intermediate Period. a Shows positive correlation between the ground elevation of the pyramids and their proximity to the floodplain. b Shows positive correlation between the average ground elevation of the pyramids and their average proximity to the floodplain in each Dynasty. c Illustrates the water level interpretation by Hassan (1986) in Faiyum Lake in correlation to the average pyramids ground elevation and average distances to the floodplain in each Dynasty. d The data indicates that the Ahramat Branch had a high-water level during the first period of the Old Kingdom, especially during Dynasty 4. The water level reduced afterwards but was raised slightly in Dynasty 6. The position of the Middle Kingdom’s pyramids, which was at lower altitudes and in close proximity to the floodplain as compared to those of the Old Kingdom might be explained by the slight eastward migration of the Ahramat Branch.

In addition, our analysis in Fig. ( 4) , shows that the Qakare Ibi Pyramid of Dynasty 8 was constructed very close to the floodplain on very low elevation, which implies that the Nile water levels were very low at this time of the First Intermediate Period (2181–2055 BCE). This finding is in agreement with previous work conducted by Kitchen 20 which implies that the sudden collapse of the Old Kingdom in Egypt (after 4160 BCE) was largely caused by catastrophic failure of the annual flood of the Nile River for a period of 30–40 years. Data from soil cores near Memphis indicated that the Old Kingdom settlement is covered by about 3 m of sand 11 . Accordingly, the Ahramat Branch was initially positioned further west during the Old Kingdom and then shifted east during the Middle Kingdom due to the drought-induced sand encroachments of the First Intermediate Period, “a period of decentralization and weak pharaonic rule” in ancient Egypt, spanning about 125 years (2181–2055 BCE) post Old Kingdom era. Soil cores from the drilling program at Memphis show dominant dry conditions during the First Intermediate Period with massive eolian sand sheets extended over a distance of at least 0.5 km from the edge of the western desert escarpment 21 . The Ahramat Branch continued to move east during the Second Intermediate Period until it had gradually lost most of its water supply by the New Kingdom.

The western tributaries of the Ahramat Branch

Sentinal-1 radar data unveiled several wide channels (inlets) in the Western Desert Plateau connected to the Ahramat Branch. These inlets are currently covered by a layer of sand, thus partially invisible in multispectral satellite imagery. In Sentinal-1 radar imagery, the valley floors of these inlets appear darker than the surrounding surfaces, indicating subsurface fluvial deposits. These smooth deposits appear dark owing to the specular reflection of the radar signals away from the receiving antenna (Fig. 5a, b ) 22 . Considering that Sentinel-1’s C-Band has a penetration capability of approximately 50 cm in dry sand surface 23 , this would suggest that the riverbed of these channels is covered by at least half a meter of desert sand. Unlike these former inlets, the course of the Ahramat Branch is invisible in SAR data due in large part to the presence of dense farmlands in the floodplain, which limits radar penetration and the detection of underlying fluvial deposition. Moreover, the radar topographic data from TDX revealed the areal extent of these inlets. Their river courses were extracted from TDX data using the Topographic Position Index (TPI), an algorithm which is used to compute the topographic slope positions and to automate landform classifications (Fig. 5c, d ). Negative TPI values show the former riverbeds of the inlets, while positive TPI signify the riverbanks bordering them.

a Conceptual sketch of the dependence of surface roughness on the sensor wavelength λ (modified after 48 ). b Expected backscatter characteristics in sandy desert areas with buried dry riverbeds. c Dry channels/inlets masked by desert sand in the Dahshur area. d The channels’ courses were extracted using TPI. Negative TPI values highlight the courses of the channels while positive TPI signify their banks.

Analysis indicated that several of the pyramid’s causeways, from Dynasties 4 and 6, lead to the inlet’s riverbanks (Fig. 6 ). Among these pyramids, are the Bent Pyramid, the first pyramid built by King Snefru in Dynasty 4 and among the oldest, largest, and best preserved ancient Egyptian pyramids that predates the Giza Pyramids. This pyramid is situated at the royal necropolis of Dahshur. The position of the Bent Pyramid, deep in the desert, far from the modern Nile floodplain, remained unexplained by researchers. This pyramid has a long causeway (~700 m) that is paved in the desert with limestone blocks and is attached to a large valley temple. Although all the pyramids’ valley temples in Egypt are connected to a water body and served as the landing point of all the river-borne visitors, the valley temple of the Bent Pyramid is oddly located deep in the desert, very distant from any waterways and more than 1 km away from the western edge of the modern Nile floodplain. Radar data revealed that this temple overlooked the bank of one of these extinct channels (called Wadi al-Taflah in historical maps). This extinct channel (referred to hereafter as the Dahshur Inlet due to its geographical location) is more than 200 m wide on average (Fig. 6 ). In light of this finding, the Dahshur Inlet, and the Ahramat Branch, are thus strongly argued to have been active during Dynasty 4 and must have played an important role in transporting building materials to the Bent Pyramid site. The Dahshur Inlet could have also served the adjacent Red Pyramid, the second pyramid built by the same king (King Snefru) in the Dahshur area. Yet, no traces of a causeway nor of a valley temple has been found thus far for the Red Pyramid. Interestingly, pyramids in this site dated to the Middle Kingdom, including the Amenemhat III pyramid, also known as the Black Pyramid, White Pyramid, and Pyramid of Senusret III, are all located at least 1 km far to the east of the Dynasty 4 pyramids (Bent and Red) near the floodplain (Fig. 6 ), which once again supports the notion of the eastward shift of the Ahramat Branch after the Old Kingdom.

a The two inlets are presently covered by sand, thus invisible in optical satellite imagery. b Radar data, and c TDX topographic data reveal the riverbed of the Sakkara Inlet due to radar signals penetration capability in dry sand. b and c show the causeways of Pepi II and Merenre Pyramids, from Dynasty 6, leading to the Saqqara Inlet. The Valley Temple of Pepi II Pyramid overlooks the inlet riverbank, which indicates that the inlet, and thus Ahramat Branch, were active during Dynasty 6. d Radar data, and e TDX topographic data, reveal the riverbed of the Dahshur Inlet with the Bent Pyramid’s causeway of Dynasty 4 leading to the Inlet. The Valley Temple of the Bent Pyramid overlooks the riverbank of the Dahshur Inlet, which indicates that the inlet and the Ahramat Branch were active during Dynasty 4 of the Old Kingdom.

Radar satellite data revealed yet another sandy buried channel (tributary), about 6 km north of the Dahshur Inlet, to the west of the ancient city of Memphis. This former fluvial channel (referred to hereafter as the Saqqara Inlet due to its geographical location) connects to the Ahramat Branch with a broad river course of more than 600 m wide. Data shows that the causeways of the two pyramids of Pepi II and Merenre, situated at the royal necropolis of Saqqara and dated to Dynasty 6, lead directly to the banks of the Saqqara Inlet (see Fig. 6 ). The 400 m long causeway of Pepi II pyramid runs northeast over the southern Saqqara plateau and connects to the riverbank of the Saqqara Inlet from the south. The causeway terminates with a valley temple that lies on the inlet’s riverbank. The 250 long causeway of the Pyramid of Merenre runs southeast over the northern Saqqara plateau and connects to the riverbank of the Saqqara Inlet from the north. Since both pyramids dated to Dynasty 6, it can be argued that the water level of the Ahramat Branch was higher during this period, which would have flooded at least the entrance of its western inlets. This indicates that the downstream segment of the Saqqara Inlet was active during Dynasty 6 and played a vital role in transporting construction materials and workers to the two pyramids sites. The fact that none of the Dynasty 5 pyramids in this area (e.g., the Djedkare Isesi Pyramid) were positioned on the Saqqara Inlet suggests that the water level in the Ahramat Branch was not high enough to enter and submerge its inlets during this period.

In addition, our data analysis clearly shows that the causeways of the Khafre, Menkaure, and Khentkaus pyramids, in the Giza Plateau, lead to a smaller but equally important river bay associated with the Ahramat Branch. This lagoon-like river arm is referred to here as the Giza Inlet (Fig. 7 ). The Khufu Pyramid, the largest pyramid in Egypt, seems to be connected directly to the river course of the Ahramat Branch (Fig. 7 ). This finding proves once again that the Ahramat Branch and its western inlets were hydrologically active during Dynasty 4 of the Old Kingdom. Our ancient river inlet hypothesis is also in accordance with earlier research, conducted on the Giza Plateau, which indicates the presence of a river and marsh-like environment in the floodplain east of the Giza pyramids 2 .

The causeways of the four Pyramids lead to an inlet, which we named the Giza Inlet, that connects from the west with the Ahramat Branch. These causeways connect the pyramids with valley temples which acted as river harbors in antiquity. These river segments are invisible in optical satellite imagery since they are masked by the cultivated lands of the Nile floodplain. The photo shows the valley temple of Khafre Pyramid (Photo source: Author Eman Ghoneim).

During the Old Kingdom Period, our analysis suggests that the Ahramat Branch had a high-water level during the first part, especially during Dynasty 4 whereas this water level was significantly decreased during Dynasty 5. This finding is in agreement with previous studies which indicate a high Nile discharge during Dynasty 4 (e.g., ref. 24 ). Sediment isotopic analysis of the Nile Delta indicated that Nile flows decrease more rapidly by the end of Dynasty 4 25 , in addition 26 reported that during Dynasties 5 and 6 the Nile flows were the lowest of the entire Dynastic period. This long-lost Ahramat Branch (possibly a former Yazoo tributary to the Nile) was large enough to carry a large volume of the Nile discharge in the past. The ancient channel segment uncovered by 1 , 15 west of the city of Memphis through borehole logs is most likely a small section of the large Ahramat Branch detected in this study. In the Middle Kingdom, although previous studies implied that the Nile witnessed abundant flood with occasional failures (e.g., ref. 27 ), our analysis shows that all the pyramids from the Middle Kingdom were built far east of their Old Kingdom counterparts, on lower altitudes and in close proximity to the floodplain as compared to those of the Old Kingdom. This paradox might be explained by the fact that the Ahramat Branch migrated eastward, slightly away from the Western Desert escarpment, prior to the construction of the Middle Kingdom pyramids, resulting in the pyramids being built eastward so that they could be near the waterway.

The eastward migration and abandonment of the Ahramat Branch could be attributed to gradual tilting of the Nile delta and floodplain in lower Egypt towards the northeast due to tectonic activity 28 . A topographic tilt such as this would have accelerated river movement eastward due to the river being located in the west at a relatively higher elevation of the floodplain. While near-channel floodplain deposition would naturally lead to alluvial ridge development around the active Ahramat Branch, and therefore to lower-lying tracts of adjacent floodplain to the east, regional tilting may explain the wholesale lateral migration of the river in that direction. The eastward migration and abandonment of the branch could also be ascribed to sand incursion due to the branch’s proximity to the Western Desert Plateau, where windblown sand is abundant. This would have increased sand deposition along the riverbanks and caused the river to silt up, particularly during periods of low flow. The region experienced drought during the First Intermediate Period, prior to the Middle Kingdom. In the area of Abu Rawash north 29 and Dahshur site 11 , settlements from the Early Dynastic and Old Kingdom were found to be covered by more than 3 m of desert sands. During this time, windblown sand engulfed the Old Kingdom settlements and desert sands extended eastward downhill over a distance of at least 0.5 km 21 . The abandonment of sites at Abusir (5 th Dynasty), where the early pottery-rich deposits are covered by wind-blown sand and then mud without sherds, can be used as evidence that the Ahramat Branch migrated eastward after the Old Kingdom. The increased sand deposition activity, during the end of the Old Kingdom, and throughout the First Intermediate Period, was most likely linked to the period of drought and desertification of the Sahara 30 . In addition, the reduced river discharge caused by decreased rainfall and increased aridity in the region would have gradually reduced the river course’s capacity, leading to silting and abandonment of the Ahramat Branch as the river migrated to the east.

The Dahshur, Saqqara, and Giza inlets, which were connected to the Ahramat Branch from the west, were remnants of past active drainage systems dated to the late Tertiary or the Pleistocene when rainwater was plentiful 31 . It is proposed that the downstream reaches of these former channels (wadis) were submerged during times of high-water levels of the Ahramat Branch, forming long narrow water arms (inlets) that gave a wedge-like shape to the western flank of the Ahramat Branch. During the Old Kingdom, the waters of these inlets would have flowed westward from the Ahramat Branch rather than from their headwaters. As the drought intensified during the First Intermediate Period, the water level of the Ahramat Branch was lowered and withdrew from its western inlets, causing them to silt up and eventually dry out. The Dahshur, Saqqara, and Giza inlets would have provided a bay environment where the water would have been calm enough for vessels and boats to dock far from the busy, open water of the Ahramat Branch.

Sediments from the Ahramat Branch riverbed, which were collected from the two deep soil cores (cores A and B), show an abrupt shift from well-sorted medium sands at depth to overlying finer materials with layers including gravel, shell, and handmade materials. This indicates a step-change from a relatively consistent higher-energy depositional regime to a generally lower-energy depositional regime with periodic flash floods at these sites. So, the Ahramat Branch in this region carried and deposited well-sorted medium sand during its last active phase, and over time became inactive, infilling with sand and mud until an abrupt change led the (by then) shallow depression fill with finer distal floodplain sediment (possibly in a wetland) that was utilized by people and experienced periodic flash flooding. Validation of the paleo-channel position and sediment type using these cores shows that the Ahramat Branch has similar morphological features and an upward-fining depositional sequence as that reported near Giza, where two cores were previously used to reconstruct late Holocene Nile floodplain paleo-environments 2 . Further deep soil coring could determine how consistent the geomorphological features are along the length of the Ahramat branch, and to help explain anomalies in areas where the branch has less surface expression and where remote sensing and geophysical techniques have limitations. Considering more core logs can give a better understanding of the floodplain and the buried paleo-channels.

The position of the Ahramat Branch along the western edge of the Nile floodplain suggests it to be the downstream extension of Bahr Yusef. In fact, Bahr Yusef’s course may have initially flowed north following the natural surface gradient of the floodplain before being forced to turn west to flow into the Fayum Depression. This assumption could be supported by the sharp westward bend of Bahr Yusef’s course at the entrance to the Fayum Depression, which could be a man-made attempt to change the waterflow direction of this branch. According to Römer 32 , during the Middle Kingdom, the Gadallah Dam located at the entrance of the Fayum, and a possible continuation running eastwards, blocked the flow of Bahr Yusef towards the north. However, a sluice, probably located near the village of el-Lahun, was created in order to better control the flow of water into the Fayum. When the sluice was locked, the water from Bahr Yusef was directed to the west and into the depression, and when the sluice was open, the water would flow towards the north via the course of the Ahramat Branch. Today, the abandoned Ahramat Branch north of Fayum appears to support subsurface water flow in the buried coarse sand bed layers, however these shallow groundwater levels are likely to be quite variable due to proximity of the bed layers to canals and other waterways that artificially maintain shallow groundwater. Groundwater levels in the region are known to be variable 33 , but data on shallow groundwater could be used to further validate the delineated paleo-channel of the Ahramat Branch.

The present work enabled the detection of segments of a major former Nile branch running at the foothills of the Western Desert Plateau, where the vast majority of the Ancient Egyptian pyramids lie. The enormity of this branch and its proximity to the pyramid complexes, in addition to the fact that the pyramids’ causeways terminate at its riverbank, all imply that this branch was active and operational during the construction phase of these pyramids. This waterway would have connected important locations in ancient Egypt, including cities and towns, and therefore, played an important role in the cultural landscape of the region. The eastward migration and abandonment of the Ahramat Branch could be attributed to gradual movement of the river to the lower-lying adjacent floodplain or tilting of the Nile floodplain toward the northeast as a result of tectonic activity, as well as windblown sand incursion due to the branch’s proximity to the Western Desert Plateau. The increased sand deposition was most likely related to periods of desertification of the Great Sahara in North Africa. In addition, the branch eastward movement and diminishing could be explained by the reduction of the river discharge and channel capacity caused by the decreased precipitation and increased aridity in the region, particularly during the end of the Old Kingdom.

The integration of radar satellite data with geophysical surveying and soil coring, which we utilized in this study, is a highly adaptable approach in locating similar former buried river systems in arid regions worldwide. Mapping the hidden course of the Ahramat Branch, allowed us to piece together a more complete picture of ancient Egypt’s former landscape and a possible water transportation route in Lower Egypt, in the area between Lisht and the Giza Plateau.

Revealing this extinct Nile branch can provide a more refined idea of where ancient settlements were possibly located in relation to it and prevent them from being lost to rapid urbanization. This could improve the protection measures of Egyptian cultural heritage. It is the hope that our findings can improve conservation measures and raise awareness of these sites for modern development planning. By understanding the landscape of the Nile floodplain and its environmental history, archeologists will be better equipped to prioritize locations for fieldwork investigation and, consequently, raise awareness of these sites for conservation purposes and modern development planning. Our finding has filled a much-needed knowledge gap related to the dominant waterscape in ancient Egypt, which could help inform and educate a wide array of global audiences about how earlier inhabitants were living and in what ways shifts in their landscape drove human activity in such an iconic region.

Materials and methods

The work comprised of two main elements: satellite remote sensing and historical maps and geophysical survey and sediment coring, complemented by archeological resources. Using this suite of investigative techniques provided insights into the nature and relationship of the former Ahramat Branch with the geographical location of the pyramid complexes in Egypt.

Satellite remote sensing and historical maps

Unlike optical sensors that image the land surface, radar sensors image the subsurface due to their unique ability to penetrate the ground and produce images of hidden paleo-rivers and structures. In this context, radar waves strip away the surface sand layer and expose previously unidentified buried channels. The penetration capability of radar waves in the hyper-arid regions of North Africa is well documented 4 , 34 , 35 , 36 , 37 . The penetration depth varies according to the radar wavelength used at the time of imaging. Radar signal penetration becomes possible without significant attenuation if the surface cover material is extremely dry (<1% moisture content), fine grained (<1/5 of the imaging wavelength) and physically homogeneous 23 . When penetrating desert sand, radar signals have the ability to detect subsurface soil roughness, texture, compactness, and dielectric properties 38 . We used the European Space Agency (ESA) Sentinel-1 data, a radar satellite constellation consisting of a C-Band synthetic aperture radar (SAR) sensor, operating at 5.405 GHz. The Sentinel-1 SAR image used here was acquired in a descending orbit with an interferometric wide swath mode (IW) at ground resolutions of 5 m × 20 m, and dual polarizations of VV + VH. Since Sentinal-1 is operated in the C-Band, it has an estimated penetration depth of 50 cm in very dry, sandy, loose soils 39 . We used ENVI v. 5.7 SARscape software for processing radar imagery. The used SAR processing sequences have generated geo-coded, orthorectified, terrain-corrected, noise free, radiometrically calibrated, and normalized Sentinel-1 images with a pixel size of 12.5 m. In SAR imagery subsurface fluvial deposits appear dark owing to specular reflection of the radar signals away from the receiving antenna, whereas buried coarse and compacted material, such as archeological remains appear bright due to diffuse reflection of radar signals 40 .

Other previous studies have shown that combining radar topographic imagery (e.g., Shuttle Radar Topography Mission-SRTM) with SAR images improves the extraction and delineation of mega paleo-drainage systems and lake basins concealed under present-day topographic signatures 3 , 4 , 22 , 41 . Topographic data represents a primary tool in investigating surface landforms and geomorphological change both spatially and temporally. This data is vital in mapping past river systems due to its ability to show subtle variations in landform morphology 37 . In low lying areas, such as the Nile floodplain, detailed elevation data can detect abandoned channels, fossilized natural levees, river meander scars and former islands, which are all crucial elements for reconstructing the ancient Nile hydrological network. In fact, the modern topography in many parts of the study area is still a good analog of the past landscape. In the present study, TanDEM-X (TDX) topographic data, from the German Aerospace Centre (DLR), has been utilized in ArcGIS Pro v. 3.1 software due to its fine spatial resolution of 0.4 arc-second ( ∼ 12 m). TDX is based on high frequency X-Band Synthetic Aperture Radar (SAR) (9.65 GHz) and has a relative vertical accuracy of 2 m for areas with a slope of ≤20% 42 . This data was found to be superior to other topographic DEMs (e.g., Shuttle Radar Topography Mission and ASTER Global Digital Elevation Map) in displaying fine topographic features even in the cultivated Nile floodplain, thus making it particularly well suited for this study. Similar archeological investigations using TDX elevation data in the flat terrains of the Seyhan River in Turkey and the Nile Delta 43 , 44 allowed for the detection of levees and other geomorphologic features in unprecedented spatial resolution. We used the Topographic Position Index (TPI) module of 45 with the TDX data by applying varying neighboring radiuses (20–100 m) to compute the difference between a cell elevation value and the average elevation of the neighborhood around that cell. TPI values of zero are either flat surfaces with minimal slope, or surfaces with a constant gradient. The TPI can be computed using the following expression 46 .

Where the scaleFactor is the outer radius in map units and Irad and Orad are the inner and outer radius of annulus in cells. Negative TPI values highlight abandoned riverbeds and meander scars, while positive TPI signify the riverbanks and natural levees bordering them.

The course of the Ahramat Branch was mapped from multiple data sources and used different approaches. For instance, some segments of the river course were derived automatically using the TPI approach, particularly in the cultivated floodplain, whereas others were mapped using radar roughness signatures specially in sandy desert areas. Moreover, a number of abandoned channel segments were digitized on screen from rectified historical maps (Egyptian Survey Department scale 1:50,000 collected on years 1910–1911) near the foothill of the Western Desert Plateau. These channel segments together with the former river course segments delineated from radar and topographic data were aggregated to generate the former Ahramat Branch. In addition to this and to ensure that none of the channel segments of the Ahramat Branch were left unmapped during the automated process, a systematic grid-based survey (through expert’s visual observation) was performed on the satellite data. Here, Landsat 8 and Sentinal-2 multispectral images, Sentinal-1 radar images and TDX topographic data were used as base layers, which were thoroughly examined, grid-square by grid-square (2*2 km per a square) at a full resolution, in order to identify small-scale fluvial landforms, anomalous agricultural field patterns and irregular ditches, and determine their spatial distributions. Here, ancient fluvial channels were identified using two key aspects: First, the sinuous geometry of natural and manmade features and, second the color tone variations in the satellite imagery. For example, clusters of contiguous pixels with darker tones and sinuous shapes may signify areas of a higher moisture content in optical imagery, and hence the possible existence of a buried riverbed. Stretching and edge detection were applied to enhance contrasts in satellite images brightness to enable the visualization of traces of buried river segments that would otherwise go unobserved. Lastly, all the pyramids and causeways in the study site, along with ancient harbors and valley temples, as indicators of preexisting river channels, were digitized from satellite data and available archeological resources and overlaid onto the delineated Ahramat Branch for geospatial analysis.

Geophysical survey and sediment coring

Geophysical measurements using Ground Penetrating Radar (GPR) and Electromagnetic Tomography (EMT) were utilized to map subsurface fluvial features and validate the satellite remote sensing findings. GPR is effective in detecting changes of dielectric constant properties of sediment layers, and its signal responses can be directly related to changes in relative porosity, material composition, and moisture content. Therefore, GPR can help in identifying transitional boundaries in subsurface layers. EMT, on the other hand, shows the variations and thickness of large-scale sedimentary deposits and is more useful in clay-rich soil than GPR. In summer 2022, a geophysical profile was measured using GPR and EMT units with a total length of approximately 1.2 km. The GPR survey was conducted with a central frequency antenna of 35 MHz and a trigger interval of 5 cm. The EMT survey was performed using the multi-frequency terrain conductivity (EM–34–3) measuring system with a spacing of 10–11 meters between stations. To validate the remote sensing and geophysical data, two sediment cores with depths of 20 m (Core A) and 13 m (Core B) were collected using a deep soil driller. These cores were collected from along the geophysical profile in the floodplain. Sieving and organic analysis were performed on the sediment samples at Tanta University sediment lab to extract information about grain size for soil texture and total organic carbon. In soil texture analysis medium to coarse sediment, such as sands, are typical for river channel sediments, loamy sand and sandy loam deposits can be interpreted as levees and crevasse splays, whereas fine texture deposits, such as silt loam, silty clay loam, and clay deposits, are representative of the more distal parts of the river floodplain 47 .

Data availability

Data for replicating the results of this study are available as supplementary files at: https://figshare.com/articles/journal_contribution/Pyramids_Elevations_and_Distances_xlsx/25216259 .

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Acknowledgements

This work was funded by NSF grant # 2114295 awarded to E.G., S.O. and T.R. and partially supported by Research Momentum Fund, UNCW, to E.G. TanDEM-X data was awarded to E.G. and R.E by the German Aerospace Centre (DLR) (contract # DEM_OTHER2886). Permissions for collecting soil coring and sampling were obtained from the Faculty of Science, Tanta University, Egypt by coauthors Dr. Amr Fhail and Dr. Mohamed Fathy. Bradley Graves at Macquarie University assisted with preparation of the sedimentological figures. Hamada Salama at NRIAG assisted with the GPR field data collection.

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Eman Ghoneim

School of Natural Sciences, Macquarie University, Macquarie, NSW, 2109, Australia

Timothy J. Ralph

Department of History, The University of Memphis, Memphis, TN, 38152-3450, USA

Suzanne Onstine

Near Eastern Languages and Civilizations, University of Chicago, Chicago, IL, 60637, USA

Raghda El-Behaedi

National Research Institute of Astronomy and Geophysics (NRIAG), Helwan, Cairo, 11421, Egypt

Gad El-Qady, Mahfooz Hafez, Magdy Atya, Mohamed Ebrahim & Ashraf Khozym

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Eman Ghoneim conceived the ideas, lead the research project, and conducted the data processing and interpretations. The manuscript was written and prepared by Eman Ghoneim. Timothy J. Ralph co-supervised the project, contributed to the geomorphological and sedimentological interpretations, edited the manuscript and the figures. Suzanne Onstine co-supervised the project, contributed to the archeological and historical interpretations, and edited the manuscript. Raghda El-Behaedi contributed to the remote sensing data processing and methodology and edited the manuscript. Gad El-Qady supervised the geophysical survey. Mahfooz Hafez, Magdy Atya, Mohamed Ebrahim, Ashraf Khozym designed, collected, and interpreted the GPR and EMT data. Amr S. Fahil and Mohamed S. Fathy supervised the soil coring, sediment analysis, drafted sedimentological figures and contributed to the interpretations. All authors reviewed the manuscript and participated in the fieldwork.

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Ghoneim, E., Ralph, T.J., Onstine, S. et al. The Egyptian pyramid chain was built along the now abandoned Ahramat Nile Branch. Commun Earth Environ 5 , 233 (2024). https://doi.org/10.1038/s43247-024-01379-7

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Citing an image in APA Style. In an APA Style reference entry for an image found on a website, write the image title in italics, followed by a description of its format in square brackets. Include the name of the site and the URL. The APA in-text citation just includes the photographer's name and the year. APA format. Author last name, Initials.
How to Cite Images
Copy the citation and add under the image. For example, an image of a lake from Creative Commons has this citation next to it: "lake" by barnyz is licensed under CC BY-NC-ND 2.0. 2. Include a marker, such as Image 1. or Figure 1., and in the reference section, include full citation information with the corresponding number. 3.
How to Cite a Picture or Image in APA
Citing vs. 'reproducing' This guide provides information on how to cite images and photographs. However, reproducing the image inside of your essay or research paper might require additional permissions and/or attributions. Section 12.15 of the Publication Manual provides more information on reproducing images and graphics.
How to Cite an Image in MLA
If you include an image directly in your paper, it should be labeled "Fig." (short for "Figure"), given a number, and presented in the MLA figure format. Directly below the image, place a centered caption starting with the figure label and number (e.g. "Fig. 2"), then a period. For the rest of the caption, you have two options:
Referencing style
In-Text Citation. Reference List & Notes. Copied Image (reproduced within the document) For Figure 2 Pilotus Flowers (Family Amaranthaceae) Example: Species such as the Pilotus flower (Figure 2) are ideal for weed control due to their spreading habit. Note: No need to cite the author of an image when you refer to an image figure within your text.
Research Guides: APA Citation Style, 7th edition: Figures/Images
drawings. photographs/images. This section will cover the following examples: Image from an Electronic Source. Figures. For more examples and information, consult the following publications: Publication Manual of the American Psychological Association (7th ed.) Call Number: BF76.7 .P83 2020.
Citing Images
The only official, authorized book on MLA style. The new, ninth edition builds on the MLA's unique approach to documenting sources using a template of core elements facts, common to most sources, like author, title, and publication date that allows writers to cite any type of work, from books, e-books, and journal articles in databases to song lyrics, online images, social media posts ...
How to Cite an Image
How to Cite an Image. To create a basic works-cited-list entry for an image, list the creator of the image, the title of the image, the date of composition, and the location of the image, which would be a physical location if you viewed the image in person. If you viewed the image online, provide the name of the website containing the image and ...
Citing Images
Cite the artist's name, title in italics, the medium and support, the date, and the institution or individual who owns the work, the city, and, if needed for clarification, the state. If the location is unknown use, "whereabouts unknown" in parentheses.As a general rule cite images only in notes. Frank Duveneck, 1872.
How to reference an image in Harvard style
Today, finding and citing a digital or online image is simple. You'll need the following information: Photographer's name. (Year published) Title of the photograph, italizised. Available at: URL (Accessed: the date you sourced the image) In-text citation structure and example: (Photographer's name, Year published) OR.
Citing & Using Images
Images or illustrations can enhance your papers and presentations. Like written sources, images also need to be properly cited. Always indicate, or cite where you found the image. Citations can be formatted according to the citation style you are using (MLA, APA, Chicago, etc). Using images you did not create requires a citation in all cases.
Images Research Guide: Citing Images
Image Credits (Non-Academic Style) A credit statement can be an alternative to a full academic citation, and especially useful when writing for the Web. Provide a link to the image if you can. General Format: Title by Creator, date (if available), via source (Creative Common License Type, if applicable). Example:
Documenting and Citing Images
Reasonable use of images and media in teaching, course papers, and graduate theses/dissertations is generally covered by fair use. Fair Use; Documenting and Citing Images; ... Please note that this is advice on best practices and considerations in documenting and citing images and non-print materials. It does not represent legal advice on ...
How to Cite Images, Graphs & Tables in a Research Paper
You can cite images in your research paper either at the end, in between the topics, or in a separate section for all the non-textual elements used in the paper. You can choose to insert images in between texts, but you need to provide the in-text citations for every image that has been used. Additionally, you need to attach the name ...
APA Citation Style, 7th edition: Electronic Image
Image from an Electronic Source. Images, diagrams and artistic works should be cited as you would cite any other type of work. Note: Images in text are also generally accompanied by a caption that includes copyright information and a statement of permission for use. Please check with your instructor to see if this is necessary.
How to Cite a Picture or Image in MLA
Citing a photograph you took. The photo would be considered as part of a "personal collection.". The example below follows guidance found in the MLA Style Center. Works Cited. Structure. Your Last Name, First Name. Image description or Image Title. Day Month Year taken. Author's personal collection.
Figures (graphs and images)
The first option is to place all figures on separate pages after the reference list. The second option is to embed each figure within the text. If you reproduce or adapt a figure from another source (e.g., an image you found on the internet), you should include a copyright attribution in the figure note, indicating the origin of the reproduced ...
Citing and referencing figures / images (IEEE)
Citations of figures / images in the paper must be in numerical order. Place it below the figure / image. Citations to figures in text always carry the abbreviation "Fig." followed by the figure number.
[2405.13870] FreeCustom: Tuning-Free Customized Image Generation for
These approaches often require retraining/fine-tuning using a few images, leading to time-consuming training processes and impeding their swift implementation. Furthermore, the reliance on multiple images to represent a singular concept increases the difficulty of customization. To this end, we propose FreeCustom, a novel tuning-free method to ...
Why Scientific Fraud Is Suddenly Everywhere
Last week, scientific publisher Wiley decided to shutter 19 scientific journals after retracting 11,300 sham papers. There is a large-scale industry of so-called "paper mills" that sell ...
[2405.07992] MambaOut: Do We Really Need Mamba for Vision?
Mamba, an architecture with RNN-like token mixer of state space model (SSM), was recently introduced to address the quadratic complexity of the attention mechanism and subsequently applied to vision tasks. Nevertheless, the performance of Mamba for vision is often underwhelming when compared with convolutional and attention-based models. In this paper, we delve into the essence of Mamba, and ...
How to Cite an Image in Chicago Style
Citing an image from a book. An image you encountered in a book, journal article, or other print source should be cited by first listing information about the image itself, then listing information about the source it was contained in, including the page number where the image can be found.. Use italics for the title an image originally created outside the context of the book or article (e.g ...
Citing Google Images in APA, MLA or Chicago
To cite an image found through Google using the image-search function or through searching Google Images, identify the website where the image was originally posted. Cite the image as though you found it on the original website where it was posted. To find the publisher's details, this means clicking through to the site with the image.
The Egyptian pyramid chain was built along the now abandoned Ahramat
The Sentinel-1 SAR image used here was acquired in a descending orbit with an interferometric wide swath mode (IW) at ground resolutions of 5 m × 20 m, and dual polarizations of VV + VH.
How to reverse image search: A guide for Google on and off your phone
Here's how to use Google's reverse image search feature on your computer: Go to images.google.com. Click the camera button in the search bar. Upload an image by dragging it into the upload box ...
How to Start a Presentation: 12 Ways to Keep Your Audience Hooked
1 Make a provocative statement. "I want to discuss with you this afternoonwhy you're going to fail to have a great career." One surefire way to get your audience's attention is to make a provocative statement that creates interest and a keen desire to know more about what you have to say. The presentation above, for example, does just that by ...
Semantica: An Adaptable Image-Conditioned Diffusion Model
We investigate the task of adapting image generative models to different datasets without finetuneing. To this end, we introduce Semantica, an image-conditioned diffusion model capable of generating images based on the semantics of a conditioning image. Semantica is trained exclusively on web-scale image pairs, that is it receives a random image from a webpage as conditional input and models ...
Federal judge found 'strong evidence' of crimes before Trump was
Included as well were new images of Walt Nauta, Trump's personal aide, moving boxes around Mar-a-Lago room before the a Trump attorney was to review the boxes for classified materials sought by ...
Ebrahim Raisi death: What do we know about the Bell 212 helicopter?
The Iranian model that crashed on Sunday was configured to carry government passengers. Bell Helicopter advertises the latest version, the Subaru Bell 412, for police use, medical transport, troop ...

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Citing Google Images in MLA

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The Egyptian pyramid chain was built along the now abandoned Ahramat Nile Branch

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