Virtual Rephotography: Novel View Prediction Error for 3D Reconstruction

Total Page:16

File Type:pdf, Size:1020Kb

Virtual Rephotography: Novel View Prediction Error for 3D Reconstruction Virtual Rephotography: Novel View Prediction Error for 3D Reconstruction MICHAEL WAECHTER, MATE BELJAN, SIMON FUHRMANN, and NILS MOEHRLE Technische Universitat¨ Darmstadt JOHANNES KOPF Facebook and MICHAEL GOESELE Technische Universitat¨ Darmstadt The ultimate goal of many image-based modeling systems is to render photo-realistic novel views of a scene without visible artifacts. Existing evaluation metrics and benchmarks focus mainly on the geometric accuracy of the reconstructed model, which is, however, a poor predictor of visual ac- curacy. Furthermore, using only geometric accuracy by itself does not allow evaluating systems that either lack a geometric scene representation or uti- lize coarse proxy geometry. Examples include a light field and most image- based rendering systems. We propose a unified evaluation approach based on novel view prediction error that is able to analyze the visual quality of (a) Mesh with vertex colors (b) Mesh with texture any method that can render novel views from input images. One key advan- rephoto error: 0.47 rephoto error: 0.29 tage of this approach is that it does not require ground truth geometry. This dramatically simplifies the creation of test datasets and benchmarks. It also allows us to evaluate the quality of an unknown scene during the acquisition and reconstruction process, which is useful for acquisition planning. We evaluate our approach on a range of methods including standard geometry- plus-texture pipelines as well as image-based rendering techniques, com- pare it to existing geometry-based benchmarks, demonstrate its utility for a range of use cases, and present a new virtual rephotography-based bench- mark for image-based modeling and rendering systems. (c) Point cloud splatting (d) Image-based rendering (IBR) CCS Concepts: •Computing methodologies ! Reconstruction; Image- rephoto error: 0.51 rephoto error: 0.62 based rendering; Fig. 1. Castle Ruin with different 3D reconstruction representations. Additional Key Words and Phrases: image-based rendering, image-based Geometry-based evaluation methods [Seitz et al. 2006; Strecha et al. 2008; modeling, 3D reconstruction, multi-view stereo, novel view prediction error Aanæs et al. 2016] cannot distinguish (a) from (b) as both have the same geometry. While the splatted point cloud (c) could in principle be evaluated ACM Reference Format: with these methods, the IBR solution (d) cannot be evaluated at all. Michael Waechter, Mate Beljan, Simon Fuhrmann, Nils Moehrle, Johannes Kopf, and Michael Goesele. 2017. Virtual rephotography: Novel view pre- diction error for 3D reconstruction. ACM Trans. Graph. 36, 1, Article 8 1. INTRODUCTION (January 2017), 11 pages. DOI: http://dx.doi.org/10.1145/2999533 Intense research in the computer vision and computer graphics communities has lead to a wealth of image-based modeling and rendering systems that take images as input, construct a model of the scene, and then create photo-realistic renderings for novel view- points. The computer vision community contributed tools such as structure from motion and multi-view stereo to acquire geomet- ric models that can subsequently be textured. The computer graph- Part of this work was done while Johannes Kopf was with Microsoft Re- ics community proposed various geometry- or image-based render- search. ing systems. Some of these, such as the Lumigraph [Gortler et al. Permission to make digital or hard copies of all or part of this work for personal or 1996], synthesize novel views directly from the input images (plus classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation a rough geometry approximation), producing photo-realistic results on the first page. Copyrights for components of this work owned by others than the without relying on a detailed geometric model of the scene. Even author(s) must be honored. Abstracting with credit is permitted. To copy otherwise, or though remarkable progress has been made in the area of model- republish, to post on servers or to redistribute to lists, requires prior specific permission ing and rendering of real scenes, a wide range of issues remain, and/or a fee. Request permissions from [email protected]. c 2017 Copyright held by the owner/author(s). Publication rights licensed to ACM. especially when dealing with complex datasets under uncontrolled $15.00 conditions. In order to measure and track the progress of this ongo- DOI: http://dx.doi.org/10.1145/2999533 ing research, it is essential to perform objective evaluations. ACM Transactions on Graphics, Vol. 36, No. 1, Article 8, Publication date: January 2017. 2 • M. Waechter et al. in Figure 2(a) is strongly fragmented while the model in 2(b) is not. Thus, the two renderings exhibit very different visual quality. Their similar geometric error, however, does not reflect this. Con- trarily, Figures 2(c) and 2(d) have very different geometric errors despite similar visual quality. Close inspection shows that 2(d) has a higher geometric error because its geometry is too smooth. This is hidden by the texture, at least from the viewpoints of the ren- derings. In both cases similarity of geometric error is a poor pre- dictor for similarity of visual quality, clearly demonstrating that the (a) (b) (c) (d) purely distance-based Middlebury evaluation is by design unable to geom. error: 0.83 mm geom. error: 0.81 mm geom. error: 0.48 mm geom. error: 0.79 mm capture certain aspects of 3D reconstructions. Thus, a new method- completeness: 0.88 % completeness: 0.96 % completeness: 0.99 % completeness: 0.96 % ology that evaluates visual reconstruction quality is needed. Most 3D reconstruction pipelines are modular: Typically, struc- Fig. 2. Four submissions to the Middlebury benchmark to which we added ture from motion (SfM) is followed by dense reconstruction, tex- texture [Waechter et al. 2014]: (a) Merrell Confidence [Merrell et al. 2007] turing and rendering (in image-based rendering the latter two steps and (b) Generalized-SSD [Calakli et al. 2012] have similar geometric error are combined). While each of these steps can be evaluated individ- and different visual quality. (c) Campbell [2008] and (d) Hongxing [2010] ually, our proposed approach is holistic and evaluates the complete have different geometric error and similar visual quality. pipeline including the rendering step by scoring the visual quality of the final renderings. This is more consistent with the way humans Existing evaluation efforts focus on systems that acquire mesh would assess quality: They are not concerned with the quality of models. They compare the reconstructed meshes with ground truth intermediate representations (e.g., a 3D mesh model), but instead geometry and evaluate measures such as geometric complete- consider 2D projections, i.e., renderings of the final model from ness and accuracy [Seitz et al. 2006; Strecha et al. 2008; Aanæs different viewpoints. et al. 2016]. This approach falls short in several regards: First, Leclerc et al. [2000] pointed out that in the real world infer- only scenes with available ground-truth models can be analyzed. ences that people make from one viewpoint, are consistent with Ground-truth models are typically not available for large-scale re- the observations from other viewpoints. Consequently, good mod- construction projects outside the lab such as PhotoCity [Tuite et al. els of real world scenes must be self-consistent as well. We exploit 2011], but there is, nevertheless, a need to evaluate reconstruction this self-consistency property as follows: We divide the set of cap- quality and identify problematic scene parts. Second, evaluating tured images into a training set and an evaluation set. We then re- representations other than meshes is problematic: Point clouds can construct the training set with an image-based modeling pipeline, only be partially evaluated (only reconstruction accuracy can be render novel views with the camera parameters of the evaluation measured but not completeness), and image-based rendering rep- images, and compare those renderings with the evaluation images resentations or light fields [Levoy and Hanrahan 1996] cannot be using selected image difference metrics. evaluated at all. And third, it fails to measure properties that are This can be seen as a machine learning view on 3D recon- complementary to geometric accuracy. While there are a few appli- struction: Algorithms infer a model of the world based on train- cations where only geometric accuracy matters (e.g., reverse engi- ing images and make predictions for evaluation images. For sys- neering or 3D printing), most applications that produce renderings tems whose purpose is the production of realistic renderings our for human consumption are arguably more concerned with visual approach is the most natural evaluation scheme because it di- quality. This is for instance the main focus in image-based render- rectly evaluates the output instead of internal models. In fact, our ing where the geometric proxy does not necessarily have to be ac- approach encourages that future reconstruction techniques take curate and only visual accuracy of the resulting renderings matters. photo-realistic renderability into account. This line of thought is If we consider, e.g., multi-view stereo reconstruction pipelines, also advocated by Shan et al.’s Visual Turing Test [2013] or Van- for which geometric evaluations such as the common multi-view hoey et al.’s appearance-preserving mesh simplification [2015]. benchmarks [Seitz et al. 2006; Strecha et al. 2008; Aanæs et al. Our work draws inspiration from Szeliski [1999], who proposed 2016] were designed, we can easily see that visual accuracy is com- to use intermediate frames for optical flow evaluation. We extend plementary to geometric accuracy. The two measures are intrinsi- this into a complete evaluation paradigm which is able to handle a cally related since errors in the reconstructed geometry tend to be diverse set of image-based modeling and rendering methods.
Recommended publications
  • Ground-Based Photographic Monitoring
    United States Department of Agriculture Ground-Based Forest Service Pacific Northwest Research Station Photographic General Technical Report PNW-GTR-503 Monitoring May 2001 Frederick C. Hall Author Frederick C. Hall is senior plant ecologist, U.S. Department of Agriculture, Forest Service, Pacific Northwest Region, Natural Resources, P.O. Box 3623, Portland, Oregon 97208-3623. Paper prepared in cooperation with the Pacific Northwest Region. Abstract Hall, Frederick C. 2001 Ground-based photographic monitoring. Gen. Tech. Rep. PNW-GTR-503. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station. 340 p. Land management professionals (foresters, wildlife biologists, range managers, and land managers such as ranchers and forest land owners) often have need to evaluate their management activities. Photographic monitoring is a fast, simple, and effective way to determine if changes made to an area have been successful. Ground-based photo monitoring means using photographs taken at a specific site to monitor conditions or change. It may be divided into two systems: (1) comparison photos, whereby a photograph is used to compare a known condition with field conditions to estimate some parameter of the field condition; and (2) repeat photo- graphs, whereby several pictures are taken of the same tract of ground over time to detect change. Comparison systems deal with fuel loading, herbage utilization, and public reaction to scenery. Repeat photography is discussed in relation to land- scape, remote, and site-specific systems. Critical attributes of repeat photography are (1) maps to find the sampling location and of the photo monitoring layout; (2) documentation of the monitoring system to include purpose, camera and film, w e a t h e r, season, sampling technique, and equipment; and (3) precise replication of photographs.
    [Show full text]
  • Application of Repeat Photography in Landscape Change Analysis in the Region of Bragança, Portugal
    Application of repeat photography in landscape change analysis in the region of Bragança, Portugal Hind Naciri Dissertation presented to the School of Agriculture of Bragança in partial fulfillment of the requirements for the degree of Master of Science in Forest Resources Management Advisors Prof. João Azevedo School of Agriculture Polytechnic Institute of Bragança (PORTUGAL) Prof. Mohamed Chikhaoui Department of Natural Resources & Environment Hassan II Institute of Agronomy and Veterinary Medicine (MOROCCO) Bragança November 2017 Acknowledgments To my kind Advisors Pr. Jo~aoAzevedo and Pr. Mohamed Chikhaoui who've always been available and provided crucial guidance on my thesis work, To Pr. Amilcar Teixeira and Pr. Noureddine Chtaina for making this ex- change experience possible for me and my peers, as well as for their continuous support and attention, To my caring Moroccan and Portuguese professors at both the Polytechnic Institute of Bragan¸caand the Hassan II Institute of Agronomy and Veterinary Medicine, who've enlightened my academic cursus and spared no effort in teaching me the required know- hows for my education, To my most wonderful encounters, who've lit my days up when I've expected them the least, To my altruistic parents and brother, who've always bathed me with their uncondi- tional love and support, To my most precious friends, protagonists of my bliss, I shall owe a debt of gratitude that no epithets suffice to express and dedicate this humble work. i Abstract Nowadays, landscape change analysis is occupying a prominent place among ecolog- ical studies, as it reflects the crucial role landscapes play in the dynamics of populations.
    [Show full text]
  • Photogeomorphological Studies of Oxford Stone – a Review
    Landform Analysis, Vol. 22: 111–116, 2013 doi: http://dx.doi.org/10.12657/landfana.022.009 Photogeomorphological studies of Oxford stone – a review Mary J. Thornbush School of Geography, Earth and Environmental Sciences, University of Birmingham, Birmingham, United Kingdom, [email protected] Abstract: This paper surveys work in geomorphology that incorporates photography to study landforms and landscape change. Since this is already a large area of study, the city centre of Oxford, UK is adopted as a case study for focus. The paper reviews broader literature pertaining to ‘photogeo- morphology’ since the 1960s and delves into contemporary publications for Oxford geomorphology. Developments in the general field do not embrace close-range ground-based photography, favouring aerial photography and remote sensing. The author postulates that, as evident in the Oxford studies, that the subdiscipline should be less fixated on landscape-scale approaches and also employ close-up ground-based photography and rephotography in the assessment of landforms and landscape change. This broader scale of application could benefit the study of stone soiling and decay (weathering) studies as smaller forms may be overlooked. Key words: photogeomorphology, historical photographs, rephotography, photography scale, Oxford Introduction Photogeomorphology was a remote sensing approach still mainly used for mapping in petroleum exploration The use of photographs in geomorphology is not in the 1980s (e.g., Talukdar 1980). The use of aerial pho- a new approach. Indeed, photogeomorphology appeared tographs to aid mapping continued into the late 1980s, in the 1960s in combination with photogeology used in with soil mappers developing the method to include pho- petroleum prospecting (e.g., Kelly 1961).
    [Show full text]
  • Applications of Time-Lapse Imagery for Monitoring and Illustrating
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations & Theses in Natural Resources Natural Resources, School of 8-2016 Applications of Time-lapse Imagery for Monitoring and Illustrating Ecological Dynamics in a Water- stressed System Emma Brinley Buckley University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/natresdiss Part of the Environmental Indicators and Impact Assessment Commons, Natural Resources and Conservation Commons, Other Environmental Sciences Commons, and the Water Resource Management Commons Brinley Buckley, Emma, "Applications of Time-lapse Imagery for Monitoring and Illustrating Ecological Dynamics in a Water-stressed System" (2016). Dissertations & Theses in Natural Resources. 138. http://digitalcommons.unl.edu/natresdiss/138 This Article is brought to you for free and open access by the Natural Resources, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations & Theses in Natural Resources by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. APPLICATIONS OF TIME-LAPSE IMAGERY FOR MONITORING AND ILLUSTRATING ECOLOGICAL DYNAMICS IN A WATER-STRESSED SYSTEM by Emma M. Brinley Buckley A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Science Major: Natural Resource Sciences Under the Supervision of Professor Craig R. Allen Lincoln, Nebraska August 2016 APPLICATIONS OF TIME-LAPSE IMAGERY FOR MONITORING AND ILLUSTRATING ECOLOGICAL DYNAMICS IN A WATER-STRESSED SYSTEM Emma Brinley Buckley, M.S. University of Nebraska, 2016 Advisor: Craig R. Allen Understanding and perceiving the natural world is a key part of management, policy, conservation, and inevitably for our future.
    [Show full text]
  • Rephotographic Powers: Teaching Rephotography As a Platform for Visual Communication in Turkey
    Rephotographic Powers: Teaching Rephotography as a Platform for Visual Communication in Turkey Gary McLeod, University of the Arts London, UK The Asian Conference on Arts & Humanities 2015 Official Conference Proceedings Abstract “Rephotography” is the act of re-taking a previous photograph from the same vantage point, usually separated by a period of time. Rooted in 19th century scientific practices of recording environmental change (e.g. glaciers, plant population), it has since been adopted within fields of arts and humanities to illustrate cultural changes. Possessing the power to pull viewers into a dialogue with history through visual comparison, variations have increasingly been explored by artists, photographers and amateurs as a means of fostering discussion. However, viewing rephotography as only a method reduces it to a technique to be applied and discarded when suited. If viewed as a genre–carrying its own histories, practices, assumptions and expectations that shift over time (Wells, 2015:331)–rephotography could provide an engaging platform for developing technical and creative practice, particularly for students of photography. Following a broad but brief overview of rephotography, the paper will discuss examples of rephotography produced in response to a project brief issued to undergraduate students studying “Advanced Photography” within the Visual Communication Design program at Izmir University of Economics in Turkey between 2012 and 2015. From these examples, the paper calls for a wider teaching of rephotography. Keywords: Rephotography, Visual Communication, Creative platform, Students, Turkey iafor The International Academic Forum www.iafor.org Introduction “Rephotography” describes a kind of photography that has grown in popularity during the last five years.
    [Show full text]
  • Rephotography and the Ruin of the Event by László Munteán
    9/19/2016 TRANSFORMATIONS Journal of Media & Culture ISSN 1444­3775 2016 Issue No. 28 — The Ruin, the Future Rephotography and the Ruin of the Event By László Munteán Abstract: Rephotography is the practice of retracing the location depicted in an old photograph and taking a new image from the exact same perspective. The two photographs are then combined within the same photographic frame. Originally used in scientific surveys, rephotography is now a widely popular trend, featuring a variety of technologies. In this article I employ the idea of the ruin to conceptualise rephotography’s potential to expose the temporality of space and the spatiality of time. First, I relate Walter Benjamin’s theory of the ruin to his notion of photography and introduce the notion of the photograph as a ruin of the event that it captures. Subsequently, with reference to Mark Klett’s pioneering work I explore how rephotography spatialises this past event and transforms corresponding details of the physical environment into ruins. Finally, I examine rephotography’s performative and affective dimensions through two popular blogs, Dear Photograph and Link to the Past, that feature different techniques of layering images. Keywords: allegory; nostalgia; photography; rephotography; ruin Introduction Coined by the American geologist and photographer Mark Klett (Klett et al. After the Ruins 5), the term “rephotography” has been widely used to describe the practice of retracing the location depicted in an old photograph and taking a new image from the exact same perspective. Since its original use as a geographical research tool in the advance and wide accessibility of digital photography and imaging technologies, rephotography has become an increasingly popular trend.
    [Show full text]
  • Ph3993 Extended Research Project 2017/2018 A.J
    PH3993 EXTENDED RESEARCH PROJECT 2017/2018 HOW AESTHETIC VISION HAS DEVELOPED SINCE THE INVENTION OF THE CAMERA: THE RELATIONSHIP BETWEEN PAINTINGS AND PHOTOGRAPHS AND HOW THE CAMERA HAS CHANGED THE WAY WE VIEW THE ‘ART WORLD’. A.J. CARTMELL SUPERVISED BY P. GREENE BA PHOTOGRAPHY (WITH HONS) UNIVERSITY OF CENTRAL LANCASHIRE DR. G. BRATCHFORD WORD COUNT: 6,598 How Aesthetic Vision Has Developed Since the Invention of the Camera… Amy Jade Cartmell Amy Jade Cartmell ABSTRACT This thesis aims to recognise how ‘Pictorialism’ paved the way for photography to become a globally recognised art form in its own right. “The term Pictorialism derives from a conception based on the primacy of making a picture, not merely showing something or stopping an action or event, but taking the information of observable reality and transforming it in a way that is unique to the realm of two-dimensional art” (Green, 1978). Since photography’s inception, practitioners all over the world have been discovering new and unique ways to take a photograph, but there are still many within the art world who hold the opinion that photography is merely a pseudo art form; that anyone can do it, with no talent or creativity involved. There are also people who believe common ‘photographic errors’, such as camera shake or blur, mean that a photograph is unsuccessful and no longer fit for public viewing, when in reality it is often these ‘errors’ that can define a photograph, as the following quote supports: “…a photograph need not be crisply rendered or ‘correctly’ exposed, colour-balanced, framed or even composed by the photographer… to have artistic merit.” (Higgins, 2013) 2 How Aesthetic Vision Has Developed Since the Invention of the Camera… Amy Jade Cartmell Amy Jade Cartmell This thesis will examine both historical and contemporary photographers alike; Julia Margaret Cameron, Ansel Adams, Richard Prince, and Uta Barth to name a few, to research further into how practitioners can simply transform light into arguably enthralling pieces of art.
    [Show full text]
  • The Use of Repeat Photography for Historical Ecology Research in the Landscape of Bandelier National Monument and the Jemez Mountains, New Mexico
    THE USE OF REPEAT PHOTOGRAPHY FOR HISTORICAL ECOLOGY RESEARCH IN THE LANDSCAPE OF BANDELIER NATIONAL MONUMENT AND THE JEMEZ MOUNTAINS, NEW MEXICO FINAL REPORT TO SOUTHWEST PARKS AND MONUMENTS ASSOCIATION JANUARY 11, 2000 John T. Hogan and Craig D. Allen U.S. Geological Survey Midcontinent Ecological Science Center Jemez Mountains Field Station Los Alamos, NM 87544 INTRODUCTION The detection and analysis of change at multiple temporal and spatial scales is fundamental to historical ecology research (Swetnam et al. 1999). Knowledge of past conditions is essential to our understanding of the dynamics that shaped, and continue to shape, current landscape patterns and processes. In the Southwest, the relative contributions of climate fluctuation and human disturbance to the observed changes in the composition, structure, function, and distribution of regional landscapes has been persistently debated (Hastings and Turner 1965, Bahre 1991, Allen et al. 1998). In Northern New Mexico, past environmental conditions and landscape patterns have been reconstructed from multiple lines of evidence, each with inherent strengths and weaknesses. Recently, repeat photography has been enlisted as a research tool to augment dendrochronology, palynology, land use history, and a suite of inventory and monitoring programs, in the study of the changing landscape in which Bandelier National Monument is embedded. Repeat photography can be a valuable tool in documenting and interpreting the causes of landscape changes. Outstanding Southwestern examples are the seminal The Changing Mile (Hastings and Turner 1965), A Legacy of Change (Bahre 1991), The Colorado Front Range, a Century of Ecological Change (Veblen and Lorenz 1991), and Grand Canyon, a Century of Change (Webb 1996).
    [Show full text]
  • Light and Lens : Photography in the Digital
    Light and Lens: Photography in the Digital Age Second Edition Robert Hirsch © • • • NEW YORK OXFORD AMSTERDAM • BOSTON • HEIDELBERG LONDON Focal • • TOKYO • SYDNEY PARIS • SAN DIEGO SAN FRANCISCO SINGAPORE Press ELSEVIER Focal Press is an imprint of Elsevier Contents Preface XXIX Artist Contributors XXXVI i CHAPTER 1 Why We Make Pictures: A Concise History of Visual Ideas 1 2 Not Just Pictures But Photographs 3 The Grammar of Photography The Evolution of Photographic Imaging 3 4 Full Circle: Some Things Remain the Same 5 Determining Meaning 5 BPS: Before Photoshop 6 Combination Printing The Advent of Straight Photography 7 The Pictorialists 7 The Photo-Secessionists 8 The Arrival of Straight Photography 8 Modernistic Approaches 9 9 Documentary 10 Straight Photography and Previsualization 10 Group f/64 and the Zone System Postvisualization 10 Social Landscape and the Snapshot Aesthetic 11 The Alternative Scene 11 13 The Rise of Color Photography Postmodernism 13 2^ I vii TABLE OF CONTENTS Electronic Imaging: New Ways of Thinking 'J The Digital Imaging Revolution 14 New Media 16 Questions about Photo-Based Imagemaking 17 18 1. How does one become a photographer? 2. What traits do good photographers often possess? 18 3. Why is photography important? 18 4. Why is it important to find an audience for your work? 19 5. What can images do that language cannot do? 19 20 6. What makes a photograph interesting? 7. How is the meaning of a photograph determined? 20 20 8. How can photographers know and define beauty and truth in the twenty-first century? 9. What are the advantages of digital imaging over silver-based imagemaking? 22 10.
    [Show full text]
  • A Bibliography of Computer Graphics Forum
    A Bibliography of Computer Graphics Forum Nelson H. F. Beebe University of Utah Department of Mathematics, 110 LCB 155 S 1400 E RM 233 Salt Lake City, UT 84112-0090 USA Tel: +1 801 581 5254 FAX: +1 801 581 4148 E-mail: [email protected], [email protected], [email protected] (Internet) WWW URL: http://www.math.utah.edu/~beebe/ 31 March 2021 Version 2.51 Title word cross-reference 1 [TWSM17]. 2 [AH11, BW09, BSW+12, BG89, BCK+12, BCF94, CLME09, Day90, DGF98, DHH02, DF90, EFGS96, FG88, GD96, GL94a, GL94b, GBS19, GST14, GT16b, GLX+16, HLM97, HCGW14, HRRR18, HL15, HYL+15, HS20, IEGC08, JWH19a, KKBJ16, KCL+18, KG19, LJB+12, LWS18, MBES16, MSM+08, MB08, MRWE20, NBHN17, OM13, OW19, OGHT10, PCX+18, PW12, PPBT12, PEPM12, RKW20, RGG18, RGR20, SW10, Sch11, SK16a, SSS+12, STP17, The02a, TRS03a, TRS03b, TSH01, WG93, WZL+12, WRS+13, WWW20, WTHS06, WGS10, WO92, WOBT09, + 1 YFW12, ZLK05, ZRLS19, dGCSAD11, dGLB 14, van90]. 2 2 D [FW99]. 3 [Ais85, AS96b, AA09, ADMAS18, AD01, ANF97a, ANF97b, ASH15, AMSF08, Att15, ATF12, AH11, AKM16, ARG+16, BG95, BP98, BCG+96, BB00a, Bel87, BR02, BSY+19, BYK+21, BGK+96, BCBB16, BMG99, BTG95, BCK+12, BLS+17, BG08, BYB09, BH93, BHMT13, BdM14, BCD01, BCF94, BMWM01, BNRSV01, BB08, BL18, CS16, COO15, CCFM08, CRW+20, CTSO03a, CTSO03b, CYY+11, CNKI13, CHWL19, CLB+09, CMPS93, CMS94, CD94, CYJ02, CACB18, CKSW08, DDO¨ +17, DS11a, DCPS08, DGR+14, DER+10, DMS14, DH93a, EWHS08, EHH19, EFGS96, FFD93, 1 2 FLH+20a, FHE19, FAG+20, FW17, GS14, GD96, GL94a, GL94b, GCZ+20, GLLL20, GE98, GTS86, GRT14, GLX+16, GRGH20, GTB14, Han97, HT11, HTT+20, HMTH13, HRRR18, HL14, HL15, HMW+15, HBO+10, HE94, HFL12, HLJ+20, HKM15, HCSC16, HAGO19, HZSQ20, Hub93].
    [Show full text]
  • World Air Photo Coverage, 1960
    lWorld Air Photo Coverage, 1960 KIRK I-I. STONE, Dept. of Geography, Univ. of Wisconsin REVIOUS publication on world air photo area.' Further, these photos are available at Pcoverage has stressed availability.l 'vVe least to citizens of the country photographed, have seen that far more photography exists if not to foreigners as well, through national and is available, at least to citizens of a offices in that country (e.g., geographical specific country photographed, than is gen. survey, mapping agency, geological survey, erally assumed. However, the information military organization). The known areas of about coverage has been changing rapidly due photography are sub-divided into continuous to: new photography, rephotography, mili­ and discontinuous coverage. The continuous tary declassification and reclassification, classification means that at least one com­ greater accuracy of data, and, above all, in­ plete air view of a large area, generally a few creasing cooperation throughout the world on hundred square miles minimum, is possible the provision of more complete facts. In addi­ to obtain by the use of one or more sets of tion, su fficient detailed data have been as­ photography. Discontinuous coverage refers sembled so that a provisional table may be to incompleteness of photography where one prepared to show more than the geographic or more unphotographed parts of an area may characteristics of coverage. It is hoped that be tens of square miles in size. Of course, addi­ the presentation of these data will not only tional maps are necessary to distinguish be­ encourage the use of air photos but will pro­ tween areas of coverage by: verticals and voke more completeness and publication of obliques, multiplicity of coverage, single-lens coverage data.
    [Show full text]
  • Photographing Tutankhamun: Photo-Objects and the Archival Afterlives of Colonial Archaeology
    Max Planck Research Library for the History and Development of Knowledge Studies 12 Christina Riggs: Photographing Tutankhamun: Photo-Objects and the Archival Afterlives of Colonial Archaeology In: Julia Bärnighausen, Costanza Caraffa, Stefanie Klamm, Franka Schneider, and Petra Wodtke (eds.): Photo-Objects : On the Materiality of Photographs and Photo Archives Online version at http://mprl-series.mpg.de/studies/12/ ISBN 978-3-945561-39-3 First published 2019 by Edition Open Access, Max Planck Institute for the History of Science under Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Germany Licence. https://creativecommons.org/licenses/by-nc-sa/3.0/de/ Printed and distributed by: PRO BUSINESS digital printing Deutschland GmbH, Berlin http://www.book-on-demand.de/shop/15803 The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Chapter 17 Photographing Tutankhamun: Photo­Objects and the Archival Afterlives of Colonial Archaeology Christina Riggs In a catalog of “photographic treasures” published in 2016 by the Institut Français d’Archéologie Orientale (IFAO), a double­page spread of black­and­white photographs, surrounded by the white page, placed a rough­textured, hand­modeled, raw clay face on the left page and on the right page, a front­facing portrait of an elderly bearded Egyptian man, his wrinkled face framed by the folds of a turban and scarf (Driaux and Arnette 2016, 144–45). Founded in Cairo in 1880, IFAO continues to sponsor excavations, and its photo­ graphic archives are approaching a half million negatives (Driaux and Arnette 2016, 2).
    [Show full text]