2006 SPIE Invited Paper: a Brief History of 'Pixel'
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Management of Large Sets of Image Data Capture, Databases, Image Processing, Storage, Visualization Karol Kozak
Management of large sets of image data Capture, Databases, Image Processing, Storage, Visualization Karol Kozak Download free books at Karol Kozak Management of large sets of image data Capture, Databases, Image Processing, Storage, Visualization Download free eBooks at bookboon.com 2 Management of large sets of image data: Capture, Databases, Image Processing, Storage, Visualization 1st edition © 2014 Karol Kozak & bookboon.com ISBN 978-87-403-0726-9 Download free eBooks at bookboon.com 3 Management of large sets of image data Contents Contents 1 Digital image 6 2 History of digital imaging 10 3 Amount of produced images – is it danger? 18 4 Digital image and privacy 20 5 Digital cameras 27 5.1 Methods of image capture 31 6 Image formats 33 7 Image Metadata – data about data 39 8 Interactive visualization (IV) 44 9 Basic of image processing 49 Download free eBooks at bookboon.com 4 Click on the ad to read more Management of large sets of image data Contents 10 Image Processing software 62 11 Image management and image databases 79 12 Operating system (os) and images 97 13 Graphics processing unit (GPU) 100 14 Storage and archive 101 15 Images in different disciplines 109 15.1 Microscopy 109 360° 15.2 Medical imaging 114 15.3 Astronomical images 117 15.4 Industrial imaging 360° 118 thinking. 16 Selection of best digital images 120 References: thinking. 124 360° thinking . 360° thinking. Discover the truth at www.deloitte.ca/careers Discover the truth at www.deloitte.ca/careers © Deloitte & Touche LLP and affiliated entities. Discover the truth at www.deloitte.ca/careers © Deloitte & Touche LLP and affiliated entities. -
Xerox Confidentcolor Technology Putting Exacting Control in Your Hands
Xerox FreeFlow® The future-thinking Print Server ConfidentColor Technology print server. Brochure It anticipates your needs. With the FreeFlow Print Server, you’re positioned to not only better meet your customers’ demands today, but to accommodate whatever applications you need to print tomorrow. Add promotional messages to transactional documents. Consolidate your data center and print shop. Expand your color-critical applications. Move files around the world. It’s an investment that allows you to evolve and grow. PDF/X support for graphic arts Color management for applications. transactional applications. With one button, the FreeFlow Print Server If you’re a transactional printer, this is the assures that a PDF/X file runs as intended. So print server for you. It supports color profiles when a customer embeds color-management in an IPDS data stream with AFP Color settings in a file using Adobe® publishing Management—so you can print color with applications, you can run that file with less time confidence. Images and other content can be in prepress and with consistent color. Files can incorporated from a variety of sources and reliably be sent to multiple locations and multiple appropriately rendered for accurate results. And printers with predictable results. when you’re ready to expand into TransPromo applications, it’s ready, too. Xerox ConfidentColor Technology Find out more Putting exacting control To learn more about the FreeFlow Print Server and ConfidentColor Technology, contact your Xerox sales representative or call 1-800-ASK-XEROX. Or visit us online at www.xerox.com/freeflow. in your hands. © 2009 Xerox Corporation. All rights reserved. -
What Resolution Should Your Images Be?
What Resolution Should Your Images Be? The best way to determine the optimum resolution is to think about the final use of your images. For publication you’ll need the highest resolution, for desktop printing lower, and for web or classroom use, lower still. The following table is a general guide; detailed explanations follow. Use Pixel Size Resolution Preferred Approx. File File Format Size Projected in class About 1024 pixels wide 102 DPI JPEG 300–600 K for a horizontal image; or 768 pixels high for a vertical one Web site About 400–600 pixels 72 DPI JPEG 20–200 K wide for a large image; 100–200 for a thumbnail image Printed in a book Multiply intended print 300 DPI EPS or TIFF 6–10 MB or art magazine size by resolution; e.g. an image to be printed as 6” W x 4” H would be 1800 x 1200 pixels. Printed on a Multiply intended print 200 DPI EPS or TIFF 2-3 MB laserwriter size by resolution; e.g. an image to be printed as 6” W x 4” H would be 1200 x 800 pixels. Digital Camera Photos Digital cameras have a range of preset resolutions which vary from camera to camera. Designation Resolution Max. Image size at Printable size on 300 DPI a color printer 4 Megapixels 2272 x 1704 pixels 7.5” x 5.7” 12” x 9” 3 Megapixels 2048 x 1536 pixels 6.8” x 5” 11” x 8.5” 2 Megapixels 1600 x 1200 pixels 5.3” x 4” 6” x 4” 1 Megapixel 1024 x 768 pixels 3.5” x 2.5” 5” x 3 If you can, you generally want to shoot larger than you need, then sharpen the image and reduce its size in Photoshop. -
Foveon FO18-50-F19 4.5 MP X3 Direct Image Sensor
® Foveon FO18-50-F19 4.5 MP X3 Direct Image Sensor Features The Foveon FO18-50-F19 is a 1/1.8-inch CMOS direct image sensor that incorporates breakthrough Foveon X3 technology. Foveon X3 direct image sensors Foveon X3® Technology • A stack of three pixels captures superior color capture full-measured color images through a unique stacked pixel sensor design. fidelity by measuring full color at every point By capturing full-measured color images, the need for color interpolation and in the captured image. artifact-reducing blur filters is eliminated. The Foveon FO18-50-F19 features the • Images have improved sharpness and immunity to color artifacts (moiré). powerful VPS (Variable Pixel Size) capability. VPS provides the on-chip capabil- • Foveon X3 technology directly converts light ity of grouping neighboring pixels together to form larger pixels that are optimal of all colors into useful signal information at every point in the captured image—no light for high frame rate, reduced noise, or dual mode still/video applications. Other absorbing filters are used to block out light. advanced features include: low fixed pattern noise, ultra-low power consumption, Variable Pixel Size (VPS) Capability and integrated digital control. • Neighboring pixels can be grouped together on-chip to obtain the effect of a larger pixel. • Enables flexible video capture at a variety of resolutions. • Enables higher ISO mode at lower resolutions. Analog Biases Row Row Digital Supplies • Reduces noise by combining pixels. Pixel Array Analog Supplies Readout Reset 1440 columns x 1088 rows x 3 layers On-Chip A/D Conversion Control Control • Integrated 12-bit A/D converter running at up to 40 MHz. -
Single-Pixel Imaging Via Compressive Sampling
© DIGITAL VISION Single-Pixel Imaging via Compressive Sampling [Building simpler, smaller, and less-expensive digital cameras] Marco F. Duarte, umans are visual animals, and imaging sensors that extend our reach— [ cameras—have improved dramatically in recent times thanks to the intro- Mark A. Davenport, duction of CCD and CMOS digital technology. Consumer digital cameras in Dharmpal Takhar, the megapixel range are now ubiquitous thanks to the happy coincidence that the semiconductor material of choice for large-scale electronics inte- Jason N. Laska, Ting Sun, Hgration (silicon) also happens to readily convert photons at visual wavelengths into elec- Kevin F. Kelly, and trons. On the contrary, imaging at wavelengths where silicon is blind is considerably Richard G. Baraniuk more complicated, bulky, and expensive. Thus, for comparable resolution, a US$500 digi- ] tal camera for the visible becomes a US$50,000 camera for the infrared. In this article, we present a new approach to building simpler, smaller, and cheaper digital cameras that can operate efficiently across a much broader spectral range than conventional silicon-based cameras. Our approach fuses a new camera architecture Digital Object Identifier 10.1109/MSP.2007.914730 1053-5888/08/$25.00©2008IEEE IEEE SIGNAL PROCESSING MAGAZINE [83] MARCH 2008 based on a digital micromirror device (DMD—see “Spatial Light Our “single-pixel” CS camera architecture is basically an Modulators”) with the new mathematical theory and algorithms optical computer (comprising a DMD, two lenses, a single pho- of compressive sampling (CS—see “CS in a Nutshell”). ton detector, and an analog-to-digital (A/D) converter) that com- CS combines sampling and compression into a single non- putes random linear measurements of the scene under view. -
1.1 Introduction to the Digital Systems
1.1 Introduction to the digital systems PHO 130 F Digital Photography Prof. Lorenzo Guasti How a DSLR work and why we call a camera “reflex” The heart of all digital cameras is of course the digital imaging sensor. It is the component that converts the light coming from the subject you are photographing into an electronic signal, and ultimately into the digital photograph that you can view or print PHO 130 F Digital Photography Prof. Lorenzo Guasti Although they all perform the same task and operate in broadly the same way, there are in fact th- ree different types of sensor in common use today. The first one is the CCD, or Charge Coupled Device. CCDs have been around since the 1960s, and have become very advanced, however they can be slower to operate than other types of sensor. The main alternative to CCD is the CMOS, or Complimentary Metal-Oxide Semiconductor sen- sor. The main proponent of this technology being Canon, which uses it in its EOS range of digital SLR cameras. CMOS sensors have some of the signal processing transistors mounted alongside the sensor cell, so they operate more quickly and can be cheaper to make. A third but less common type of sensor is the revolutionary Foveon X3, which offers a number of advantages over conventional sensors but is so far only found in Sigma’s range of digital SLRs and its forthcoming DP1 compact camera. I’ll explain the X3 sensor after I’ve explained how the other two types work. PHO 130 F Digital Photography Prof. -
Spatial Frequency Response of Color Image Sensors: Bayer Color Filters and Foveon X3 Paul M
Spatial Frequency Response of Color Image Sensors: Bayer Color Filters and Foveon X3 Paul M. Hubel, John Liu and Rudolph J. Guttosch Foveon, Inc. Santa Clara, California Abstract Bayer Background We compared the Spatial Frequency Response (SFR) The Bayer pattern, also known as a Color Filter of image sensors that use the Bayer color filter Array (CFA) or a mosaic pattern, is made up of a pattern and Foveon X3 technology for color image repeating array of red, green, and blue filter material capture. Sensors for both consumer and professional deposited on top of each spatial location in the array cameras were tested. The results show that the SFR (figure 1). These tiny filters enable what is normally for Foveon X3 sensors is up to 2.4x better. In a black-and-white sensor to create color images. addition to the standard SFR method, we also applied the SFR method using a red/blue edge. In this case, R G R G the X3 SFR was 3–5x higher than that for Bayer filter G B G B pattern devices. R G R G G B G B Introduction In their native state, the image sensors used in digital Figure 1 Typical Bayer filter pattern showing the alternate sampling of red, green and blue pixels. image capture devices are black-and-white. To enable color capture, small color filters are placed on top of By using 2 green filtered pixels for every red or blue, each photodiode. The filter pattern most often used is 1 the Bayer pattern is designed to maximize perceived derived in some way from the Bayer pattern , a sharpness in the luminance channel, composed repeating array of red, green, and blue pixels that lie mostly of green information. -
Diy Photography & Jr: Photographic Stickers
1 DIY PHOTOGRAPHY & JR: PHOTOGRAPHIC STICKERS For grade levels 3-12 Developed by: PEITER GRIGA The world now contains more photographs than bricks, and they are, astonishingly, all different. - John Szarkowski Are images the spine and rib cage of our society or are we so saturated in photography that we forget the underlying messages we ‘read’ from images? Are we protected/ supported by images or flooded by them? JR’s work elaborates on the idea of how we value images by demonstrating our likenesses and differences. This dichotomy is so great in his work; JR can eliminate himself as the artist, becoming the egoless ‘guide.’ As part of his Inside Out Project he allows people from all around the world to send him pictures they take of themselves, which he then prints out a poster sized image and returns to the image maker, who then selects a location and hangs the work in a public space. In a traditional sense, he hands the artistic power over to the participant and only controls the printing and specs for the images. The CAC participated in the Inside Out Project as early as 2011, but most recently through installations in Fountain Square, Rabbit Hash, KY, Findlay Market, and inside the CAC Lobby. The power of the image and the location of the image are vital aspects of JR’s site-specific work. Building upon these two factors is the material used to place the image in the public space. His materials usually include wheat paste, paper, and a large scale digitally printed image. -
The Great Telecom Meltdown for a Listing of Recent Titles in the Artech House Telecommunications Library, Turn to the Back of This Book
The Great Telecom Meltdown For a listing of recent titles in the Artech House Telecommunications Library, turn to the back of this book. The Great Telecom Meltdown Fred R. Goldstein a r techhouse. com Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the U.S. Library of Congress. British Library Cataloguing in Publication Data Goldstein, Fred R. The great telecom meltdown.—(Artech House telecommunications Library) 1. Telecommunication—History 2. Telecommunciation—Technological innovations— History 3. Telecommunication—Finance—History I. Title 384’.09 ISBN 1-58053-939-4 Cover design by Leslie Genser © 2005 ARTECH HOUSE, INC. 685 Canton Street Norwood, MA 02062 All rights reserved. Printed and bound in the United States of America. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. All terms mentioned in this book that are known to be trademarks or service marks have been appropriately capitalized. Artech House cannot attest to the accuracy of this information. Use of a term in this book should not be regarded as affecting the validity of any trademark or service mark. International Standard Book Number: 1-58053-939-4 10987654321 Contents ix Hybrid Fiber-Coax (HFC) Gave Cable Providers an Advantage on “Triple Play” 122 RBOCs Took the Threat Seriously 123 Hybrid Fiber-Coax Is Developed 123 Cable Modems -
Digital Photography: the Influence of CCD Pixel-Size on Imaging
IS&T’s 1999 PICS Conference IS&T's 1999 PICS Conference Digital Photography: The Influence of CCD Pixel Size on Imaging Performance Rodney Shaw Hewlett-Packard Research Laboratories Palo Alto, California 94304 Abstract with the question of enlargement, since this is a well-known factor in both analog and digital photography, and can be dealt As digital photography becomes increasingly competitive with with in a separate, well-established manner. traditional analog systems, questions of both comparative and The question here is the applicability of a similar global ultimate performance become of great practical relevance. In set of photographic performance parameters for any given particular the questions of camera speed and of the image digital sensor array, taking into account the complicating ex- sharpness and noise properties are of interest, especially from istence of a grid with a fixed pixel size. However to address the possibility of an opening up of new desirable areas of this question we can take the silver-halide analogy further by photographic performance with new digital technologies. considering the case where a conventional negative image is Clearly the camera format (array size, number of pixels) plays scanned as input to a digital system, which is in fact an in- a prominent role in defining overall photographic perfor- creasingly commonplace activity. In doing so the scanning mance, but it is less clear how the absolute pixel dimensions system implies placing over the film a virtual grid much akin define individual photographic parameters. This present study to the physical grid of sensor arrays. The choice of the grid uses a previously published end-to-end signal-to-noise ratio size is not seen as interfering with the global photographic model to investigate the influence of pixel size on various exposure properties, though clearly it will impose its own reso- aspects of imaging performance. -
An Analytical Study on the Modern History of Digital Photography Keywords
203 Amr Galal An analytical study on the modern history of digital photography Dr. Amr Mohamed Galal Lecturer in Faculty of mass Communication, MISR International University (MIU) Abstract: Keywords: Since its emergence more than thirty years ago, digital photography has undergone Digital Photography rapid transformations and developments. Digital technology has produced Image Sensor (CCD-CMOS) generations of personal computers, which turned all forms of technology into a digital one. Photography received a large share in this development in the making Image Storage (Digital of cameras, sensitive surfaces, image storage, image transfer, and image quality and Memory) clarity. This technology also allowed the photographer to record all his visuals with Playback System a high efficiency that keeps abreast of the age’s requirements and methods of communication. The final form of digital technology was not reached all of a Bayer Color Filter sudden; this development – in spite of its fast pace – has been subject to many LCD display pillars, all of which have contributed to reaching the modern traditional digital Digital Viewfinder. shape of the camera and granted the photographer capabilities he can use to produce images that fulfill their task. Reaching this end before digital technology was quite difficult and required several procedures to process sensitive film and paper material and many chemical processes. Nowadays, this process is done by pushing a few buttons. This research sheds light on these main foundations for the stages of digital development according to their chronological order, along with presenting scientists or production companies that have their own research laboratories which develop and enhance their products. -
Warren Commission, Volume XXII: CE 1407
UNITED STATES DEPARTMENT OF JUSTICE FEDERAL BUREAU OF INVESTIGATION r,R.Frr.PL.. .Rd* . Dallas, Texas Ree ASSASSINATION OF PRESIDENT' F~ N. June 5, 1964 JOHN FITZGERALD KENNEDY, NOVPMEFR 22, 1963, D&LIAr, TEXAS ASSASSINATION OF PRESIDENT On June 2,' 1964, JAMES W. ALTGENS . 6441 Pemberton JOHN FITZGERALD KENNEDY, Drive, telephone number EMerson 8-7766, Dallas, Texas, advised NOVEMBER 22, 1963, DALLAS, TEXAS he is employed as a wirephoto operator - photographer by Associated Press, Room 353, Dallas News Building, Dallas, In the May 24, 1964, issue of the "New York Herald Texas . ALTGENS said he sometimes acts in the capacity of the Tribune", Magazine Section, there appeared an article by DOM News Photo Editor . He said he has been employed by the BONAFEDE captioned "The Picture With a Life Of Its Own ." Associated Press for 26 years . ALTGENS advised he was born This article refers to the controversial Associated Press April 28, 1919, at Dallas, Texas . photograph of the Presidential motorcade wherein an individual resembling LEE HARVEY OSWLD appears in the doorway of the ALTGENS advised that on November 22, 1963, he was Texas School Book Depository . Previous investigation has assigned by Associated Press to take up a position along the identified this individual as BILLY NOLAN LOVELADY . This motorcade route for the purpose of obtaining pictures of the article reflects that J . W . ALTGENS, a veteran Associated President and the Presidential motorcade . ALTGENS related he Press photographer in Dallas, Texas, recalled shooting the left his office at 11 :15 A .M . and proceeded to the triple picture . The article further cemented that ALTGENS had never overpass above Elm and Main Streets where he intended to take been questioned by the FBI .