Analysis of Illumination Correction Error in Camera Color Space
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The Art of Digital Black & White by Jeff Schewe There's Just Something
The Art of Digital Black & White By Jeff Schewe There’s just something magical about watching an image develop on a piece of photo paper in the developer tray…to see the paper go from being just a blank white piece of paper to becoming a photograph is what many photographers think of when they think of Black & White photography. That process of watching the image develop is what got me hooked on photography over 30 years ago and Black & White is where my heart really lives even though I’ve done more color work professionally. I used to have the brown stains on my fingers like any good darkroom tech, but commercially, I turned toward color photography. Later, when going digital, I basically gave up being able to ever achieve what used to be commonplace from the darkroom–until just recently. At about the same time Kodak announced it was going to stop making Black & White photo paper, Epson announced their new line of digital ink jet printers and a new ink, Ultrachrome K3 (3 Blacks- hence the K3), that has given me hope of returning to darkroom quality prints but with a digital printer instead of working in a smelly darkroom environment. Combine the new printers with the power of digital image processing in Adobe Photoshop and the capabilities of recent digital cameras and I think you’ll see a strong trend towards photographers going digital to get the best Black & White prints possible. Making the optimal Black & White print digitally is not simply a click of the shutter and push button printing. -
The Crystal and Molecular Structure of Tris(Ortho- Aminobenzoato)Aquoyttrium(Iii)
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Fall 1979 THE CRYSTAL AND MOLECULAR STRUCTURE OF TRIS(ORTHO- AMINOBENZOATO)AQUOYTTRIUM(III) SHARON MARTIN BOUDREAU Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation BOUDREAU, SHARON MARTIN, "THE CRYSTAL AND MOLECULAR STRUCTURE OF TRIS(ORTHO- AMINOBENZOATO)AQUOYTTRIUM(III)" (1979). Doctoral Dissertations. 1228. https://scholars.unh.edu/dissertation/1228 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. 8009658 Bo u d r e a u , S h a r o n M a r t in THE CRYSTAL AND MOLECULAR STRUCTURE OF TRIS(ORTHO- AMrNOBENZOATO)AQUOYTTRIUM(III) University o f New Hampshire PH.D. 1979 University Microfilms International 300 N. Zeeb Road, Ann Arbor, MI 48106 18 Bedford Row, London WC1R 4EJ, England PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark . 1. Glossy photographs _ / 2. Colored illustrations _______ 3. Photographs with dark background \/ '4. Illustrations are poor copy 5. Print shows through as there is text on both sides of page ________ 6. Indistinct, broken or small print on several pages \/ throughout 7. Tightly bound copy with print lost in spine 8. Computer printout pages with indistinct print 9. -
Fast and Stable Color Balancing for Images and Augmented Reality
Fast and Stable Color Balancing for Images and Augmented Reality Thomas Oskam 1,2 Alexander Hornung 1 Robert W. Sumner 1 Markus Gross 1,2 1 Disney Research Zurich 2 ETH Zurich Abstract This paper addresses the problem of globally balanc- ing colors between images. The input to our algorithm is a sparse set of desired color correspondences between a source and a target image. The global color space trans- formation problem is then solved by computing a smooth Source Image Target Image Color Balanced vector field in CIE Lab color space that maps the gamut of the source to that of the target. We employ normalized ra- dial basis functions for which we compute optimized shape parameters based on the input images, allowing for more faithful and flexible color matching compared to existing RBF-, regression- or histogram-based techniques. Further- more, we show how the basic per-image matching can be Rendered Objects efficiently and robustly extended to the temporal domain us- Tracked Colors balancing Augmented Image ing RANSAC-based correspondence classification. Besides Figure 1. Two applications of our color balancing algorithm. Top: interactive color balancing for images, these properties ren- an underexposed image is balanced using only three user selected der our method extremely useful for automatic, consistent correspondences to a target image. Bottom: our extension for embedding of synthetic graphics in video, as required by temporally stable color balancing enables seamless compositing applications such as augmented reality. in augmented reality applications by using known colors in the scene as constraints. 1. Introduction even for different scenes. With today’s tools this process re- quires considerable, cost-intensive manual efforts. -
Color Printing Techniques
4-H Photography Skill Guide Color Printing Techniques Enlarging Color Negatives Making your own color prints from Color Relations color negatives provides a whole new area of Before going ahead into this fascinating photography for you to enjoy. You can make subject of color printing, let’s make sure we prints nearly any size you want, from small ones understand some basic photographic color and to big enlargements. You can crop pictures for the visual relationships. composition that’s most pleasing to you. You can 1. White light (sunlight or the light from an control the lightness or darkness of the print, as enlarger lamp) is made up of three primary well as the color balance, and you can experiment colors: red, green, and blue. These colors are with control techniques to achieve just the effect known as additive primary colors. When you’re looking for. The possibilities for creating added together in approximately equal beautiful color prints are as great as your own amounts, they produce white light. imagination. You can print color negatives on conventional 2. Color‑negative film has a separate light‑ color printing paper. It’s the kind of paper your sensitive layer to correspond with each photofinisher uses. It requires precise processing of these three additive primary colors. in two or three chemical solutions and several Images recorded on these layers appear as washes in water. It can be processed in trays or a complementary (opposite) colors. drum processor. • A red subject records on the red‑sensitive layer as cyan (blue‑green). • A green subject records on the green‑ sensitive layer as magenta (blue‑red). -
Simplest Color Balance
Published in Image Processing On Line on 2011{10{24. Submitted on 2011{00{00, accepted on 2011{00{00. ISSN 2105{1232 c 2011 IPOL & the authors CC{BY{NC{SA This article is available online with supplementary materials, software, datasets and online demo at http://dx.doi.org/10.5201/ipol.2011.llmps-scb 2014/07/01 v0.5 IPOL article class Simplest Color Balance Nicolas Limare1, Jose-Luis Lisani2, Jean-Michel Morel1, Ana Bel´enPetro2, Catalina Sbert2 1 CMLA, ENS Cachan, France ([email protected], [email protected]) 2 TAMI, Universitat Illes Balears, Spain (fjoseluis.lisani, anabelen.petro, [email protected]) Abstract In this paper we present the simplest possible color balance algorithm. The assumption under- lying this algorithm is that the highest values of R, G, B observed in the image must correspond to white, and the lowest values to obscurity. The algorithm simply stretches, as much as it can, the values of the three channels Red, Green, Blue (R, G, B), so that they occupy the maximal possible range [0, 255] by applying an affine transform ax+b to each channel. Since many images contain a few aberrant pixels that already occupy the 0 and 255 values, the proposed method saturates a small percentage of the pixels with the highest values to 255 and a small percentage of the pixels with the lowest values to 0, before applying the affine transform. Source Code The source code (ANSI C), its documentation, and the online demo are accessible at the IPOL web page of this article1. -
The Crystal and Molecular Structures of Some Organophosphorus Insecticides and Computer Methods for Structure Determination Ricky Lee Lapp Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1979 The crystal and molecular structures of some organophosphorus insecticides and computer methods for structure determination Ricky Lee Lapp Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Physical Chemistry Commons Recommended Citation Lapp, Ricky Lee, "The crystal and molecular structures of some organophosphorus insecticides and computer methods for structure determination " (1979). Retrospective Theses and Dissertations. 7224. https://lib.dr.iastate.edu/rtd/7224 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. -
TESSERACT -- Antique Scientific Instruments
TESSERACT Early Scientific Instruments Special Issue: OPTICAL PLEASURES Catalogue One Hundred Seven Summer, 2018 $10 CATALOGUE ONE HUNDRED SEVEN Copyright 2018 David Coffeen CONDITIONS OF SALE All items in this catalogue are available at the time of printing. We do not charge for shipping and insurance to anywhere in the contiguous 48 states. New York residents must pay applicable sales taxes. For buyers outside the 48 states, we will provide packing and delivery to the post office or shipper but you must pay the actual shipping charges. Items may be reserved by telephone, and will be held for a reasonable time pending receipt of payment. All items are offered with a 10-day money-back guarantee for any reason, but you pay return postage and insurance. We will do everything possible to expedite your shipment, and can work within the framework of institutional requirements. The prices in this catalogue are net and are in effect through December, 2018. Payments by check, bank transfer, or credit card (Visa, Mastercard, American Express) are all welcome. — David Coffeen, Ph.D. — Yola Coffeen, Ph.D. Members: Scientific Instrument Society American Association for the History of Medicine Historical Medical Equipment Society Antiquarian Horological Society International Society of Antique Scale Collectors Surveyors Historical Society Early American Industries Association The Oughtred Society American Astronomical Society International Coronelli Society American Association of Museums Co-Published : RITTENHOUSE: The Journal of the American Scientific Instrument Enterprise (http://www.etesseract.com/RHjournal/) We are always interested in buying single items or collections. In addition to buying and selling early instruments, we can perform formal appraisals of your single instruments or whole collections, whether to determine fair market value for donation, for insurance, for loss, etc. -
Starting Darktable
Digital photo development with Darktable Manage and develop your digital images with Darktable v0.8. Stefano Fornari, Mario Latronico, Nicholas Manea 2 Copyright and License Copyright © 2011 Stefano Fornari, Mario Latronico, Nicholas Manea This work is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License. The book Darktable is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. 3 Table of Contents Digital photo development with Darktable..........................................................................................2 Copyright and License.....................................................................................................................3 Preface.............................................................................................................................................7 Credits.........................................................................................................................................7 Who should read this book..........................................................................................................7 Conventions................................................................................................................................7 A simple tutorial...................................................................................................................................8 Starting darktable.............................................................................................................................8 -
Color Balance
TECHNOLOGY 3.2 – ADOBE® PHOTOSHOP® MINUTE7 STARTER Color Balance OBJECTIVES STEP 1 | LEARN By reviewing the Color Balance tutorial, students will learn how to modify the color balance of a photograph using Adobe® Photoshop®. STEP 2 | PRACTICE Students will use the Color Balance tutorial as a reference as they change the color balance of a photograph. Note: A practice photo is provided in the tutorial folder. STEP 3 | USE Students will apply knowledge when editing and reviewing photographs being published. 21ST CENTURY SKILLS Employment in the 21st century requires the ability to learn and use technology appropriately and effectively. Adobe Photoshop is an industry-standard software that allows for creative thinking. COMMON CORE ISTE STANDARDS ISTE STATE STANDARDS 1B: Create original works. ELA-Literacy.SL.9-12.5, CCRA.SL.5 6A: Understand and use technology systems. Make strategic use of digital media to 6B: Select and use applications effectively enhance understanding. and productively. 6C: Troubleshoot systems and applications. Do you have an idea for a 7-Minute Starter? Email us at [email protected] 14-0610 Color Balance Sometimes an image may have a slight color cast, either due to White Balance issues with the camera or simply because of artificial lighting indoors where the photo was taken. Color can be quickly neutralized by using Adobe® Photoshop’s® Auto Color feature located under the Image Tab. Auto Color adjusts the contrast and color of an image by searching the image to identify shadows, mid-tones and highlights. If the Auto Color tool doesn’t do the trick — the following method is an easy way to help remove the color cast from a photo using the Neutral Color Picker and may produce better results. -
Color Management Guide Printing with Epson Premium ICC Profiles Copyright Notice All Rights Reserved
Epson Professional Imaging Color Management Guide Printing With Epson Premium ICC Profiles Copyright Notice All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Seiko Epson Corporation. The information contained herein is designed only for use with this Epson product. Epson is not responsible for any use of this information as applied to other equipment. Neither Seiko Epson Corporation nor its affiliates shall be liable to the purchaser of this product or third parties for damages, losses, costs, or expenses incurred by purchaser or third parties as a result of: accident, misuse, or abuse of this product or unauthorized modifications, repairs, or alterations to this product, or (excluding the U.S.) failure to strictly comply with Seiko Epson Corporation’s operating and maintenance instructions. Seiko Epson Corporation shall not be liable for any damages or problems arising from the use of any options or any consumable products other than those designated as Original Epson Products or Epson Approved Products by Seiko Epson Corporation. Responsible Use of Copyrighted Materials Epson encourages each user to be responsible and respectful of the copyright laws when using any Epson product. While some countries’ laws permit limited copying or reuse of copyrighted material in certain circumstances, those circumstances may not be as broad as some people assume. Contact your legal advisor for any questions regarding copyright law. Trademarks Epson and Epson Stylus are registered trademarks, and Epson Exceed Your Vision is a registered logomark of Seiko Epson Corporation. -
Masonry Course Text
MASONRY COURSE TEXT MASONRY 1ST EDITION COURSE TEXT 1ST EDITION 5A Century Drive, Trincity Industrial Estate, Macoya, Trinidad, West Indies Tel: (868) 663-4MIC (4642) Fax: (868) 663-6055 Email: [email protected] Website: www.mic.co.tt NOTICE TO THE READER The reader is expressly warned to consider and adopt ALL safety precautions that might be indicated by the activites in this text, and to use common sense to avoid ALL potential hazards. By following the instructions contained in the text, the reader willingly assumes all risks in connection with such instructions. BRAND DISCLAIMER MIC does not necessarily recommend or endorse any particular company or brand name product that may be discussed or pictured in this text. Brand name products are used because they are readily available, likely to be known to the reader, or their use may aid in the understanding of the text. MIC recognizes that other brand names or generic products may be substituted and work as well or even better than those featured in the text. Copyright © 2011 by Metal Industries Company Limited (MIC) Funded by the European Development Fund (EDF) All rights reserved. No part of this text may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, edf Non-University Tertiary Education Sector photocopying, recording, or otherwise, without the prior “ Aiding the GROWTH of Global Minds” written permission of MIC Ltd. Funded by the European Union The Government of Trinidad and Tobago MASONRY COURSE TEXT 1ST EDITION iv -
Color Management Scanner Digital Camera Mobile Phone
Graphic Arts Workflow Lecture 12 Color Management Scanner Digital Camera Mobile Phone Device independent Color Representation ICC Profiles Gamut Mapping Image retouching Page Layout DFE Proofer Digital Printers Press Color Management Images look different on each device. Original Image Scanner Image Printer Image Images look different on each device. Color Management Device Differences Variations are due to: • Spectral distribution of the device components Difference in Spatial Resolutions (phosphors, filters, sensors)’ • Viewing conditions (dark/light, indoor/outdoors, illumination spectra) Printers 300-1200 dpi 1-4 intensity bits • media CRT Pitch 0.27 µ, 72 ppi, (projected/reflected light or print). TV 480 lines (analog) LCD 100 ppi, 8 intensity bits Camera 2 Megapixel, 10 intensity bits Scanner 600 dpi, 12 intensity bits Solution: Define a transform to map colors from color space of one device (source) to color space of another device (destination). Device Differences Device Differences Difference in Contrast and Brightness Range Difference in White Point QImagingKodak Nikon Genoacolor Device Differences Device Differences Difference in Gamut Difference in Gamut Monitor Gamut Printer Gamut Film Monitor Device Differences Gamut Mismatch Difference in Gamut How does one print this color? 0.8 display printer Scanner 0.6 y 0.4 0.2 Monitor 0 0 0.2 0.4 0.6 0.8 x This color never needed? printer Gamut Mismatch Gamut Mismatch How does one print this color? 0.8 display printer 0.6 y 0.4 0.2 0 0 0.2 0.4 0.6 0.8 x How does one display this color? The problem is twofold: 1) Differences in device representation 2) Differences in Gamut Size and Shape Gamut Mapping Gamut Mapping - Example In order to transfer color information between a source device and a destination device, one must define a mapping between the source Gamut to destination the destination Gamut.