Photographic Objective Research Articles

The sketchy database

We present the Sketchy database , the first large-scale collection of sketch-photo pairs. We ask crowd workers to sketch particular photographic objects sampled from 125 categories and acquire 75,471 sketches of 12,500 objects. The Sketchy database gives us fine-grained associations between particular photos and sketches, and we use this to train cross-domain convolutional networks which embed sketches and photographs in a common feature space. We use our database as a benchmark for fine-grained retrieval and show that our learned representation significantly outperforms both hand-crafted features as well as deep features trained for sketch or photo classification. Beyond image retrieval, we believe the Sketchy database opens up new opportunities for sketch and image understanding and synthesis.

DEVELOPMENT AND EVALUATION OF SIMPLE MEASUREMENT SYSTEM USING THE OBLIQUE PHOTO AND DEM

Abstract. When a disaster occurs, we must grasp and evaluate its damage as soon as possible. Then we try to estimate them from some kind of photographs, such as surveillance camera imagery, satellite imagery, photographs taken from a helicopter and so on. Especially in initial stage, estimation of decent damage situation for a short time is more important than investigation of damage situation for a long time. One of the source of damage situation is the image taken by surveillance camera, satellite sensor and helicopter. If we can measure any targets in these imagery, we can estimate a length of a lava flow, a reach of a cinder and a sediment volume in volcanic eruption or landslide. Therefore in order to measure various information for a short time, we developed a simplified measurement system which uses these photographs. This system requires DEM in addition to photographs, but it is possible to use previously acquired DEM. To measure an object, we require only two steps. One is the determination of the position and the posture in which the photograph is shot. We determine these parameters using DEM. The other step is the measurement of an object in photograph. In this paper, we describe this system and show the experimental results to evaluate this system. In this experiment we measured the top of Mt. Usu by using two measurement method of this system. Then we can measure it about one hour and the difference between the measurement results and the airborne LiDAR data are less than 10 meter.

DEVELOPMENT AND EVALUATION OF SIMPLE MEASUREMENT SYSTEM USING THE OBLIQUE PHOTO AND DEM

When a disaster occurs, we must grasp and evaluate its damage as soon as possible. Then we try to estimate them from some kind of photographs, such as surveillance camera imagery, satellite imagery, photographs taken from a helicopter and so on. Especially in initial stage, estimation of decent damage situation for a short time is more important than investigation of damage situation for a long time. <br><br> One of the source of damage situation is the image taken by surveillance camera, satellite sensor and helicopter. If we can measure any targets in these imagery, we can estimate a length of a lava flow, a reach of a cinder and a sediment volume in volcanic eruption or landslide. <br><br> Therefore in order to measure various information for a short time, we developed a simplified measurement system which uses these photographs. This system requires DEM in addition to photographs, but it is possible to use previously acquired DEM. To measure an object, we require only two steps. One is the determination of the position and the posture in which the photograph is shot. We determine these parameters using DEM. The other step is the measurement of an object in photograph. <br><br> In this paper, we describe this system and show the experimental results to evaluate this system. In this experiment we measured the top of Mt. Usu by using two measurement method of this system. Then we can measure it about one hour and the difference between the measurement results and the airborne LiDAR data are less than 10 meter.

Fotografar sem disparar: a sobrevivência da apropriação artística na era do digital

Este artigo examina os modos como a apropriação artística pós-moderna resistiu ao advento da revolução digital e ao seu consequente impacto na (i)materialidade dos objectos fotográficos. Partindo da análise dos processos de produção e fruição na obra de Joachim Schmid, este trabalho investiga a adaptação da arte aos novos panoramas tecnológicos, num mundo paradoxal em se fotografa cada vez mais, ao mesmo tempo que os tradicionais objectos fotográficos se encontram à beira do desaparecimento.

Automated Detection of Threat Objects Using Adapted Implicit Shape Model

Baggage inspection using X-ray screening is a priority task that reduces the risk of crime and terrorist attacks. Manual detection of threat items is tedious because very few bags actually contain threat items and the process requires a high degree of concentration. An automated solution would be a welcome development in this field. We propose a methodology for automatic detection of threat objects using single X-ray images. Our approach is an adaptation of a methodology originally created for recognizing objects in photographs based on implicit shape models. Our detection method uses a visual vocabulary and an occurrence structure generated from a training dataset that contains representative X-ray images of the threat object to be detected. Our method can be applied to single views of grayscale X-ray images obtained using a single energy acquisition system. We tested the effectiveness of our method for the detection of three different threat objects: 1) razor blades; 2) shuriken (ninja stars); and 3) handguns. The testing dataset for each threat object consisted of 200 X-ray images of bags. The true positive and false positive rates (TPR and FPR) are: (0.99 and 0.02) for razor blades, (0.97 and 0.06) for shuriken, and (0.89 and 0.18) for handguns. If other representative training datasets were utilized, we believe that our methodology could aid in the detection of other kinds of threat objects.

25 Years Ago in the JBPA/JBP - A Look Back at Classic Articles.

In this column we look back at the content and imagery found in the Journal of the Biological Photographic Association (JBPA), later renamed the Journal of Biological Photography (JBP). This column examines important articles from 25 years ago. In doing so, we gain some insight into those legacy photography techniques of that time.

The Diseased Body and the Global Subject: The Circulation and Consumption of an Iconic AIDS Photograph in East Africa

This article focuses on a photographic image that has become iconic of the journey of AIDS patients in Kenya: the representation of a young man's emaciated body “before treatment” with antiretroviral therapy (ART), and another of the same man “after treatment” and the restoration of his health and life. Showing one of his patients in Haiti and taken by the medical anthropologist and activist Paul Farmer, the photograph traveled to Kenya where it was made into an AIDS-education poster and used as a key tool in ART programs. With its strong “conversion” narrative, the poster seeks to convert viewers to a biomedical way of seeing, and experiencing, disease and infection. I explore the production, circulation and reception of this image, its social history and its agency, as it entered into local moral economies concerning HIV, visibility and value, and drew globalized connections, discourses and practices into novel forms of self-fashioning. In being stretched across different scales, and in being displayed in public as well as domestic spaces, this photographic object creates new relationships between these spaces and the actors who inhabit them.

The Scientific and Historical Value of Annotations on Astronomical Photographic Plates

The application of photography to astronomy was a critical step in the development of astrophysics at the end of the nineteenth century. Using custom-built photographic telescopes and objective prisms, astronomers took images of the sky on glass plates during a 100-year period from many observing stations around the globe. After each plate was developed, astronomers and their assistants studied and annotated the plates as they made astrometric, photometric, and spectroscopic measurements, counted galaxies, observed stellar variability, tracked meteors, and calculated the ephemerides of asteroids and comets. In this paper, the authors assess the importance of the plate annotations for future scientific, historical, and educational programmes. Unfortunately, many of these interesting annotations are now being erased when grime is removed from the plates before they are digitized to make the photometric data available for time-domain astrophysics. To see what professional astronomers and historians think about this situation, the authors conducted a survey. This paper captures the lively discussion on the pros and cons of the removal of plate markings, how best to document them if they must be cleaned off, and what to do with plates whose annotations are deemed too valuable to be erased. Three appendices (please visit Supplementary Material, available online) offer professional guidance on the best practices for handling and cleaning the plates, photographing any annotations, and rehousing them.

Bollaín’s Flores de Otro Mundo via Cathy Song’s Picture Bride: Photographic and Poetic Images Recreate the Art of Forming and Experiencing Community

This article discusses how Spanish filmmaker Iciar Bollain and Asian American poet Cathy Song relate to the art of photography in strikingly similar ways. Both artists show a keen interest in photographs as cultural and as social artifacts. Numerous aspects of photography, both as a material product and as a cultural statement, will be considered, as this article proposes that a storytelling urge becomes summoned every time one chooses to take, pose for, and look at a photograph. In other words, the photographer, the poser, and the spectator cannot escape the desire to construct a story around photography. Both Bollain’s Flores de otro mundo and Song’s Picture Bride show us how every photographic object begets a story that configures a community in the present or to come.

Design of ultra wide-angle photographic objective based on ZEMAX

Design of ultra wide-angle photographic objective based on ZEMAX

Narcisse et la photographie. De l’objectivation à l’objectivité

Baudelaire blamed the bourgeois society and its photographic narcissism which leads to a perversion of the mythical posture and to a loss of consciousness of the ontological dissimilarity between reality and its image. That is why literature has to develop the imagination of the photographic image, which is both useful and magical, both referential and wondrous. Writers of the romantic era may disdain or admire photography, but they all experience the photographic objectivity and thus develop an antidote to the vain objectification of the collective Narcissus.

F/1.6 diffraction-limited air-spaced Cooke triplet photographic lens designs for MWIR and LWIR imaging applications: geometrical optics performance comparison between Ge–ZnSe–Ge and Si–Ge–Si triplet designs using Zemax

In this study Ge–ZnSe–Ge (spectral range 8–14μm) and Si–Ge–Si (spectral range 3–11μm) air-spaced photographic objective triplet lens designs are discussed. The two designs have focal length of 90mm, f/1.6 and full field-of-view (FOV) of±4.5°. Geometrical optics calculations obtained with Zemax® for each lens design are provided for the modulation transfer function (MTF), point spread function (PSF), encircled energy, transverse ray fan plots, root-mean-square wave front error (RMS WFE), chromatic focal shift, field curvature, distortion, and RMS WFE versus wavelength. Furthermore, the MTF at 50% contrast modulation for both designs is evaluated over the temperature range 20–40°C. The results indicate that the Ge–ZnSe–Ge triplet design is more susceptible to temperature variations, which lead to loss in image quality with the rise in ambient temperature

Photographs as things – photographs of things. A texto-material perspective on photo-sharing practices

Recent changes in visual communication refer to photography becoming ‘networked’ due to the prevalent practice of sharing photographs immediately after capture via instant messaging tools or social media applications. Photo sharing thus represents a pervasive and natural activity in current highly mediatized societies. This paper focuses on communicative practices of photo sharing against the background of practice theory putting particular emphasis on the role and status of the photographic object within sharing practices. In doing so, the paper argues for a transmedial, texto-material perspective that conceptualizes photographs as objects and texts, understanding them as doubly articulated artefacts. Three modes of photo sharing that strongly differ regarding the role of the shared photographic objects are discussed: (1) sharing photographs to talk about images, (2) sharing photographs to communicate visually and (3) phatic photo sharing. This analytical systematization is followed by a discussion of the potentials, risks and ethical challenges of photo sharing and sharing economies. Summarizing, the article draws implications for the future critical discussion of photo sharing and for the empirical analysis of photo-sharing practices.

Tangible things: making history through objects

[tentative] Preface Introduction: Thinking with Things Chapter 1: Things in Place 1. Natural History Say it with Flowers: An Orchid Specimen and a Watercolor Drawing 2. Archaeology and Anthropology A Surface Find in the Semitic Museum: A Roman Four-Handled Glass Jar 3. Books and Manuscripts Plato from the Sharp-Nosed Trash 4. Art Set in Stone: A Limestone Mold for Casting Openwork Ornaments 5. Science and Medicine Political Chemistry 6. History A Knockabout Dress Chapter 2: Things Unplaced Memorandums of a Cottage An Enchanted Galapagos Tortoise Shell Marked Pointing Fingers: A Carved Spoon, Human Hand An Errant Tortilla Exotic Opulence: An Iridescent Beetle Ornament Tracking Blondie: Blondie Goes to Leisureland Chapter 3: Things Out of Place A Palette and the Psychology of Vision A Blue Bird Plows and Swords: The Artemas Ward Plow in the Semitic Museum Nature or Culture? A Carved Helmeted Hornbill Skull Chapter 4: Things in Stories-Stories in Things Objects as Portals The Message Transits of Venus Changing Stories about American Indians Appendix: Glossary of Harvard Collections Photo Essay: Unexpected Discoveries: the Joy of Object Photography

Curating Everyday Life: Approaches to Documenting Everyday Soundscapes

Curating Everyday Life: Approaches to Documenting Everyday Soundscapes

On the Distribution of Salient Objects in Web Images and Its Influence on Salient Object Detection.

In recent years it has become apparent that a Gaussian center bias can serve as an important prior for visual saliency detection, which has been demonstrated for predicting human eye fixations and salient object detection. Tseng et al. have shown that the photographer’s tendency to place interesting objects in the center is a likely cause for the center bias of eye fixations. We investigate the influence of the photographer’s center bias on salient object detection, extending our previous work. We show that the centroid locations of salient objects in photographs of Achanta and Liu’s data set in fact correlate strongly with a Gaussian model. This is an important insight, because it provides an empirical motivation and justification for the integration of such a center bias in salient object detection algorithms and helps to understand why Gaussian models are so effective. To assess the influence of the center bias on salient object detection, we integrate an explicit Gaussian center bias model into two state-of-the-art salient object detection algorithms. This way, first, we quantify the influence of the Gaussian center bias on pixel- and segment-based salient object detection. Second, we improve the performance in terms of F 1 score, F β score, area under the recall-precision curve, area under the receiver operating characteristic curve, and hit-rate on the well-known data set by Achanta and Liu. Third, by debiasing Cheng et al.’s region contrast model, we exemplarily demonstrate that implicit center biases are partially responsible for the outstanding performance of state-of-the-art algorithms. Last but not least, we introduce a non-biased salient object detection method, which is of interest for applications in which the image data is not likely to have a photographer’s center bias (e.g., image data of surveillance cameras or autonomous robots).

Development and experimental investigation of algorithms for distinguishing fuzzy boundaries of objects in photographs of industrial materials

Main ways of processing nanoscale photographs with high refinement are examined in this paper. Algorithms for solving problems of image analysis of nanomaterial structure are developed. Results of nanostructure image processing are presented.

On Writing with Photography

On Writing with Photography

Korea/Culture as the Chosen Photographic Object: <i>Focusing on</i> Culture Joseon

Korea/Culture as the Chosen Photographic Object: <i>Focusing on</i> Culture Joseon

Segmentation precedes face categorization under suboptimal conditions

Both categorization and segmentation processes play a crucial role in face perception. However, the functional relation between these subprocesses is currently unclear. The present study investigates the temporal relation between segmentation-related and category-selective responses in the brain, using electroencephalography (EEG). Surface segmentation and category content were both manipulated using texture-defined objects, including faces. This allowed us to study brain activity related to segmentation and to categorization. In the main experiment, participants viewed texture-defined objects for a duration of 800 ms. EEG results revealed that segmentation-related responses precede category-selective responses. Three additional experiments revealed that the presence and timing of categorization depends on stimulus properties and presentation duration. Photographic objects were presented for a long and short (92 ms) duration and evoked fast category-selective responses in both cases. On the other hand, presentation of texture-defined objects for a short duration only evoked segmentation-related but no category-selective responses. Category-selective responses were much slower when evoked by texture-defined than by photographic objects. We suggest that in case of categorization of objects under suboptimal conditions, such as when low-level stimulus properties are not sufficient for fast object categorization, segmentation facilitates the slower categorization process.