An Instructional Guide for Leaf Color Analysis Using Digital Imaging Software
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Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings
Journal of Imaging Article Psychophysical Determination of the Relevant Colours That Describe the Colour Palette of Paintings Juan Luis Nieves * , Juan Ojeda, Luis Gómez-Robledo and Javier Romero Department of Optics, Faculty of Science, University of Granada, 18071 Granada, Spain; [email protected] (J.O.); [email protected] (L.G.-R.); [email protected] (J.R.) * Correspondence: [email protected] Abstract: In an early study, the so-called “relevant colour” in a painting was heuristically introduced as a term to describe the number of colours that would stand out for an observer when just glancing at a painting. The purpose of this study is to analyse how observers determine the relevant colours by describing observers’ subjective impressions of the most representative colours in paintings and to provide a psychophysical backing for a related computational model we proposed in a previous work. This subjective impression is elicited by an efficient and optimal processing of the most representative colour instances in painting images. Our results suggest an average number of 21 subjective colours. This number is in close agreement with the computational number of relevant colours previously obtained and allows a reliable segmentation of colour images using a small number of colours without introducing any colour categorization. In addition, our results are in good agreement with the directions of colour preferences derived from an independent component analysis. We show Citation: Nieves, J.L.; Ojeda, J.; that independent component analysis of the painting images yields directions of colour preference Gómez-Robledo, L.; Romero, J. aligned with the relevant colours of these images. Following on from this analysis, the results suggest Psychophysical Determination of the that hue colour components are efficiently distributed throughout a discrete number of directions Relevant Colours That Describe the and could be relevant instances to a priori describe the most representative colours that make up the Colour Palette of Paintings. -
Gardenergardener
TheThe AmericanAmerican GARDENERGARDENER TheThe MagazineMagazine ofof thethe AAmericanmerican HorticulturalHorticultural SocietySociety January/February 2005 new plants for 2005 Native Fruits for the Edible Landscape Wildlife-Friendly Gardening Chanticleer: A Jewel of a Garden The Do’s andand Don’tsDon’ts ofof Planting Under Trees contents Volume 84, Number 1 . January / February 2005 FEATURES DEPARTMENTS 5 NOTES FROM RIVER FARM 6 MEMBERS’ FORUM 8 NEWS FROM AHS AHS’s restored White House gates to be centerpiece of Philadelphia Flower Show entrance exhibit, The Growing Connection featured during United Nations World Food Day events, Utah city’s volunteer efforts during America in Bloom competition earned AHS Community Involvement Award, Great Southern Tree Conference is newest AHS partner. 14 AHS PARTNERS IN PROFILE page 22 The Care of Trees brings passion and professionalism to arboriculture. 44 GARDENING BY DESIGN 16 NEW FOR 2005 BY RITA PELCZAR Forget plants—dream of design. A preview of the exciting and intriguing new plant introductions. 46 GARDENER’S NOTEBOOK Gardening trends in 2005, All-America 22 CHANTICLEER BY CAROLE OTTESEN Selections winners, Lenten rose is perennial of the year, wildlife This Philadephia-area garden is being hailed as one of the finest gardening courses small public gardens in America. online, new Cornell Web site allows rating of 26 NATIVE FRUITS BY LEE REICH vegetable varieties, Add beauty and flavor to your landscape with carefree natives like Florida gardens recover from hurricane damage, page 46 beach plum, persimmon, pawpaw, and clove currant. gardeners can help with national bird count. 31 TURNING A GARDEN INTO A COMMUNITY BY JOANNE WOLFE 50 In this first in a series of articles on habitat gardening, learn how to GROWING THE FUTURE create an environment that benefits both gardener and wildlife. -
Sensory and Instrument-Measured Ground Chicken Meat Color
Sensory and Instrument-Measured Ground Chicken Meat Color C. L. SANDUSKY1 and J. L. HEATH2 Department of Animal and Avian Sciences, University of Maryland, College Park, Maryland 20742 ABSTRACT Instrument values were compared to scores were compared using each of the backgrounds. sensory perception of ground breast and thigh meat The sensory panel did not detect differences in yellow- color. Different patty thicknesses (0.5, 1.5, and 2.0) and ness found by the instrument when samples on white background colors (white, pink, green, and gray), and pink backgrounds were compared to samples on previously found to cause differences in instrument- green and gray backgrounds. A majority of panelists (84 measured color, were used. Sensory descriptive analysis of 85) preferred samples on white or pink backgrounds. scores for lightness, hue, and chroma were compared to Red color of breast patties was associated with fresh- instrument-measured L* values, hue, and chroma. ness. Sensory ordinal rank scores for lightness, redness, and Reflective lighting was compared to transmission yellowness were compared to instrument-generated L*, lighting using patties of different thicknesses. Sensory a*, and b* values. Sensory descriptive analysis scores evaluation detected no differences in lightness due to and instrument values agreed in two of six comparisons breast patty thickness when reflective lighting was used. using breast and thigh patties. They agreed when thigh Increased thickness caused the patties to appear darker hue and chroma were measured. Sensory ordinal rank when transmission lighting was used. Decreased trans- scores were different from instrument color values in the mission lighting penetrating the sample made the patties ability to detect color changes caused by white, pink, appear more red. -
A Thesis Presented to Faculty of Alfred University PHOTOCHROMISM in RARE-EARTH OXIDE GLASSES by Charles H. Bellows in Partial Fu
A Thesis Presented to Faculty of Alfred University PHOTOCHROMISM IN RARE-EARTH OXIDE GLASSES by Charles H. Bellows In Partial Fulfillment of the Requirements for The Alfred University Honors Program May 2016 Under the Supervision of: Chair: Alexis G. Clare, Ph.D. Committee Members: Danielle D. Gagne, Ph.D. Matthew M. Hall, Ph.D. SUMMARY The following thesis was performed, in part, to provide glass artists with a succinct listing of colors that may be achieved by lighting rare-earth oxide glasses in a variety of sources. While examined through scientific experimentation, the hope is that the information enclosed will allow artists new opportunities for creative experimentation. Introduction Oxides of transition and rare-earth metals can produce a multitude of colors in glass through a process called doping. When doping, the powdered oxides are mixed with premade pieces of glass called frit, or with glass-forming raw materials. When melted together, ions from the oxides insert themselves into the glass, imparting a variety of properties including color. The color is produced when the electrons within the ions move between energy levels, releasing energy. The amount of energy released equates to a specific wavelength, which in turn determines the color emitted. Because the arrangement of electron energy levels is different for rare-earth ions compared to transition metal ions, some interesting color effects can arise. Some glasses doped with rare-earth oxides fluoresce under a UV “black light”, while others can express photochromic properties. Photochromism, simply put, is the apparent color change of an object as a function of light; similar to transition sunglasses. -
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book. -
Book of Abstracts of the International Colour Association (AIC) Conference 2020
NATURAL COLOURS - DIGITAL COLOURS Book of Abstracts of the International Colour Association (AIC) Conference 2020 Avignon, France 20, 26-28th november 2020 Sponsored by le Centre Français de la Couleur (CFC) Published by International Colour Association (AIC) This publication includes abstracts of the keynote, oral and poster papers presented in the International Colour Association (AIC) Conference 2020. The theme of the conference was Natural Colours - Digital Colours. The conference, organised by the Centre Français de la Couleur (CFC), was held in Avignon, France on 20, 26-28th November 2020. That conference, for the first time, was managed online and onsite due to the sanitary conditions provided by the COVID-19 pandemic. More information in: www.aic2020.org. © 2020 International Colour Association (AIC) International Colour Association Incorporated PO Box 764 Newtown NSW 2042 Australia www.aic-colour.org All rights reserved. DISCLAIMER Matters of copyright for all images and text associated with the papers within the Proceedings of the International Colour Association (AIC) 2020 and Book of Abstracts are the responsibility of the authors. The AIC does not accept responsibility for any liabilities arising from the publication of any of the submissions. COPYRIGHT Reproduction of this document or parts thereof by any means whatsoever is prohibited without the written permission of the International Colour Association (AIC). All copies of the individual articles remain the intellectual property of the individual authors and/or their -
Measuring the Color of a Paint on Canvas
Application Note Materials Measuring the Color of a Paint on Canvas Direct measurement with an UV-Vis external diffuse reflectance accessory Authors Introduction Paolo Teragni, Color measurement systems can translate the sensations, or visual appearances, Paolo Scardina, into numbers according to various geometrical coordinates and illumination Agilent Technologies, Inc. systems. The concept of “visual colorimetry” with a standard observer using a standard device as a method of color specification dates to around 1920. The first standardized color system was defined by CIE (Commission internationelle pour l’Eclairage) around 1931. One may regard the CIE system to be at the “heart” of all color measurement systems. However, for each painter, the use of colors is dictated by their personal inclination, cultural context and available materials. These are the reasons why sophisticated and portable instrumentation is needed to understand “the fine arts” and to find the best way for their conservation. Measurements of colored materials in paintings are often difficult due to their size, shape and location. It is not possible to separate one type of paint into its individual components. Therefore, the collection of reflectance spectra and color data from a small spot of paint is needed to understand and classify the different colored materials within and to be able to remake them as similar as possible to the original. The Agilent Cary 60 UV-Vis spectrophotometer with the Principal coordinates and illuminants of remote fiber optic diffuse reflectance accessory (Figure 1) provides fast and accurate diffuse reflectance measurements Color software on sample sizes around 2 mm in diameter. The Cary 60’s – Tristimulus highly focused beam makes it ideal for fiber optic work. -
I Topic - Algal Pigments and Algal Classification(ALGAE) Prepared by –Prof.(Dr.)Jainendra Kumar Coordinated By: Prof.(Dr) Shyam Nandan Prasad
Course- M.Sc. Botany Part -I Paper -I Topic - Algal Pigments and algal Classification(ALGAE) Prepared by –Prof.(Dr.)Jainendra Kumar Coordinated by: Prof.(Dr) Shyam Nandan Prasad The algae were broadly divided by F.F.Fritsch (1935) into eleven classes according to their colour - 1. Chlorophyceae or green algae 2. Xanthophyceae or yellow-green algae 3. Chrysophyceae 4. Bacillariophyceae or golden-brown algae 5. Cryptophyceae 6. Dinophyceae 7. Chloromonadineae 8. Eugleninae 9. Phaeophyceae or brown algae 10. Rhodophyceae or red algae, and 11. Myxophyceae or blue-green algae Normally, classification of algae is based on - 1. Nuclear Organization 2. Nature of Cell Wall Components 3. Pigmentation and Photosynthetic Apparatus The pigment is one of the most important criteria used in differentiation of classes in algae. The pigments in algae can be chlorophylls, carotenoids and biloproteins. These pigments are present in sac like structures called thylakoids. The thylakoids are arranged in stacks in the granum of the chloroplasts. Different groups of algae have different types of pigments and organization of thylakoids in chloroplast. The chlorophylls in algae are chlorophyll a, b, c, d and e types. Chlorophyll a is present in all classes of algae. Chlorophyll b is primary pigment of Chlorophyceae and Euglenineae. Chlorophyll c is found in Phaeophyceae and Cryptophyceae. Chlorophyll d is found in Rhodophyceae. Chlorophyll e is confined to Tribonema of Xanthophyceae. Pigments are chemical compounds which reflect only certain wavelengths of visible light. This makes them appear colourful. More important than their reflection of light is the ability of pigments to absorb certain wavelengths. Since each pigment reacts with only a narrow range of the spectrum, it is important for algae to produce pigments of different colours to capture more of the sun's energy. -
Quantify Chlorophyll a and Chlorophyll B with a Custom Method
APPLICATION NOTE NanoDrop One/OneC No. T141 Quantify chlorophyll a and chlorophyll b with a custom method Using the NanoDrop One Spectrophotometer Abstract Scientists can accurately quantify chlorophyll a and chlorophyll b on the Thermo Scientific™ NanoDrop™ One/OneC Microvolume UV-Vis Spectrophotometer using a user-defined custom method. Introduction Chlorophyll a is the principal pigment that converts light energy to chemical energy, and chlorophyll b is the accessory photosynthetic pigment that transfers light it absorbs to chlorophyll a. Chlorophyll a is found in all plants, green algae, and cyanobacteria, and chlorophyll b is found in plants and green algae. Chlorophyll quantitation is valuable in a vast array of disciplines including but not limited to plant biology, environmental science, ecotoxicology, disease prevention, and medical drug discovery. Spectrophotometry is a common method used to measure the absorbance of light by the chlorophyll molecules. The NanoDrop One/OneC UV-Vis Spectrophotometer can be used to measure the absorbance of chlorophyll. Chlorophyll a and chlorophyll b absorb light at slightly different wavelengths. peaks (Figure 1). With this information, a user-defined Chlorophyll a absorbs light at 433 nm and 666 nm custom method including user-defined formulas can be and chlorophyll b absorbs light at 462 nm and 650 created to measure the absorbance and determine the nm. The NanoDrop One/OneC UV-Vis application can concentration of chlorophyll. be used to observe the spectrum of each chlorophyll a and chlorophyll b and identify major absorbance chlorophyll a Figure 2. Chlorophyll Content custom method created to quantify chlorophyll a and chlorophyll b samples suspended in 100% DMSO. -
October 1961 , Volume 40, Number 4 305
TIIE .A:M:ERICA.N ~GAZINE AMERICAN HORTICULTURAL SOCIETY A union of the Amej'ican HOTticu~tural Society and the AmeTican HOTticultural Council 1600 BLADENSBURG ROAD, NORTHEAST. WASHINGTON 2, D. C. For United Horticulture *** to accumulate, increase, and disseminate horticultural intOTmation B. Y. MORRISON, Editor Directors Terms Expiring 1961 JAMES R. HARLOW, Managing Editor STUART M. ARMSTRONG Maryland Editorial Committee JOH N L. CREECH . Maryland W. H . HODGE, Chairman WILLIAM H. FREDERICK, JR. Delaware JOH N L. CREECH FRANCIS PATTESON-KNIGHT FREDERIC P. LEE Virginia DONALD WYMAN CONRAD B. LINK Massachusetts CURTIS MAY T erms Expiring 1962 FREDERICK G . MEYER FREDERIC P. LEE WILBUR H . YOUNGMAN Maryland HENRY T . SKINNER District of Columbia OfJiceTS GEORGE H. SPALDING California PRESIDENT RICHARD P. WHITE DONAlJD WYMAN Distj'ict of Columbia Jamaica Plain, Massachusetts ANNE WERTSNER WOOD Pennsylvania FIRST VICE· PRESIDENT Ternu Expiring 1963 ALBERT J . IRVING New l'm'k, New York GRETCHEN HARSHBARGER Iowa SECOND VICE-PRESIDENT MARY W. M. HAKES Maryland ANNE WERTSNER W ' OOD FREDERIC HEUTTE Swarthmore, Pennsylvania Virginia W . H. HODGE SECRETARY-TREASURER OLIVE E. WEATHERELL ALBERT J . IRVING Washington, D, C. New York The Ame"ican Horticultural Magazine is the official publication of the American Horticultural Society and is issued four times a year during the quarters commencing with January, April, July and October. It is devoted to the dissemination of knowledge in the science and art of growing ornamental plants, fruits, vegetables, and related subjects. Original papers increasing the historical, varietal, and cultural knowledges of plant materials of economic and aesthetic importance are welcomed and will be published as early as possible. -
A Rare Affair an Auction of Exceptional Offerings
A Rare Affair An Auction of Exceptional Offerings MAY 29, 2015 Chicago Botanic Garden CATALOGUE AUCTION RULES AND PROCEDURES The Chicago Botanic Garden strives CHECKOUT to provide accurate information and PROCEDURES healthy plants. Because many auction Silent Auction results will be posted in items are donated, neither the auctioneer the cashier area in the East Greenhouse nor the Chicago Botanic Garden can Gallery at 9:15 p.m. Live auction results guarantee the accuracy of descriptions, will be posted at regular intervals during condition of property or availability. the live auction. Cash, check, Discover, All property is sold as is, and all sales MasterCard and Visa will be accepted. are final. Volunteers will be available to assist you with checkout, and help transport your SILENT AUCTION purchases to the valet area. All purchases Each item, or group of items, has a must be paid for at the event. bid sheet marked with its name and lot number. Starting bid and minimum SATURDAY MORNING bid increments appear at the top of the PICK-UP sheet. Each bid must be an increase over Plants may be picked up at the Chicago the previous bid by at least the stated Botanic Garden between 9 and 11 a.m. increment for the item. To bid, clearly on Saturday, May 30. Please notify the write the paddle number assigned to Gatehouse attendant that you are picking you, your last name, and the amount up your plant purchases and ask for you wish to bid. Illegible or incorrect directions to the Buehler parking lot. If bid entries will be disqualified. -
Color Additive Monographs
Copper Complexes of Chlorophylls and Chlorophyllins Molecular formula: C55H72Cu N4O5 (Copper chlorophyll a) C55H70Cu N4O6 (Copper chlorophyll b) C34H32Cu N4O5 (Copper chlorophyllin a (acid form)) C34H30Cu N4O6 (Copper chlorphyllin b (acid form)) Molecular mass: 932.75 (Copper chlorophyll a) 946.73 (Copper chlorophyll b) 640.20 (Copper chlorophyllin a) 654.18 (Copper chlorophyllin b) Each may be increased by a 18 Daltons if the cyclopentenyl ring is cleaved. CAS Registry Number 65963-40-8 (Chlorophylls, copper complexes) Chemical name: Copper chlorophyll a: [Phytl (132R,17S,18S)-3-(8-ethyl-132-methoxycarbonyl- 2,7,12,18-tetramethyl-131-oxo-3-vinyl-131-132-17,18-tetra-hydrocyclopenta[at]- prophyrin-17-yl)propionate]copper (II) Copper chlorophyll b: [Phytl (132R,17S,18S)-3-(8-ethyl-7-formyl-132- methoxycarbonyl-2,12,18-trimethyl-131-oxo-3-vinyl-131-132-17,18-tetrahydro- cyclopenta[at]-prophyrin-17-yl)propionate]copper (II) The major coloring principles in their acid forms are 3-(10-Carboxylato-4-ethyl- 1,3,5,8-tetramethyl-9-oxo-2-vinylphorbin-7-yl)propionate, copper complex (Copper chlorophyllin a) and 3-(10-carboxylato-4-ethyl-3-formyl-1,5,8-trimethyl-9-oxo-2-vinylphorbin-7- yl)propionate, copper complex (Copper chlorophyllin b) Depending on the degree of hydrolysis the cyclopentenyl ring may be cleaved with the resultant production of a third carboxyl function. EINECS Number 239-830-5 (Copper chlorophyll a) 246-020-5 (Copper chlorophyll b) Synonyms/Identifiers: Copper complexes of chlorophylls -CI Natural Green 3 -Copper Chlorophyll -Copper Phaeophytin -CI No 75810 -E 141 (i) -INS No.