The cosmos and the camera

As the Findings exhibition was based on the artist's research, the image caption reflects Daniel's core thesis questions, i.e."in what ways can astronomical imaging invoke a phenomenological experience for the viewer?"
All of the wall works were digital prints/photographic images of various sizes.There was also a short looped video playing opposite them. The lettering on the wall was vinyl.

She sleeps

A short dance film screened at the ADF Dancing for the Camera Festival, Durham, NC, 2009.

she sleeps (2009) 3:47
Performed by Jaye Hayes
Camera, editing and sound: Dianne Reid
Created as part of an installation, Yours Truly, a City of Darebin artist-in-residence project for the Art of Difference Festival, Melbourne, 2009. This project examined the public perceptions of difference while exploring the intimate interior lives of five local disabled dancers working in collaboration with director Katrina Rank and filmmaker Dianne Reid. In "she sleeps" performer Jaye Hayes is a dancer navigating chronic illness (CFS).

Neglect

A short dance film screened at the ADF Dancing for the Camera Festival, Durham, NC, 2004.

Neglect (2003) 6 min
Performed by Chay Baker, Sheridan Lang, Emma Wilson
Direction, camera and editing by Dianne Reid
Soundscape by Mark Lang
Set in a circa 1963 apartment building in the heart of Melbourne's jewish quarter, Neglect chases clues of the hidden lives of three women. an eerie journey through corridors and stairwells, the building becomes a metaphor for the body as the location upon which emotional battles are played out and histories are inscribed.

Camera traps : the research paparazzi

The use of cameras to monitor wildlife is commonplace; however, little is known of the effectiveness of different camera technologies for the detection of mammals. We compared the detection success of three different camera systems, a passive infrared (IR) system, an active IR and a constant video camera, alongside a trapping grid of Elliott and cage traps to determine their effectiveness at detecting mammals at multiple locations in the Otways National Park, Victoria, Australia (n = 160 events; 40 ± 23 [SD] events per night). Species detected and detection rates differed between methods (χ2 = 57.95, df = 2, p < 0.0001). Only house mice (Mus musculus) were detected by camera and traditional trapping techniques. Camera systems alone detected foxes (Vulpes vulpes) and a koala (Phascolarctos cinereus), while traditional traps captured bush rats (Rattus fuscipes), agile antechinus (Antechinus agilis) and a brush-tailed possum (Trichosurus vulpecula) which were not detected by the camera systems. Assuming that the video camera detected all mammals at the camera trap, the passive IR system detected almost all mammals detected by the video and it detected significantly more species than the active IR system. The choice of method will ultimately depend on the species of interest, logistics and the study site, and may substantially influence the results of a study.

The Fiftieth Gate : an Australian case study in twentieth-century 'popular' publishing

On Sunday 6 April 1997, historian Mark Baker's first non-academic book was launched at Melbourne's iconic migrant portal, Station Pier. The guest list of over 500 invitees included representatives of many print media organisations, most of whom interviewed the author. His photograph was reproduced a week later in the 'Agenda' section of The Age newspaper. In this portrait, Baker leans on the railings beside the massive structure of Station Pier. Framed by sea and sky, he is caught glancing pensively over his shoulder past the camera and into the middle distance. He is alone. The day is bleak. Here, the reader is invited to surmise, is a man with much on his mind. In a flash of inspiration the sub-editor has prefaced the accompanying caption, 'Back to the future', linking the story with the mass media of film and television.

Classifying and learning cricket shots using camera motion

This paper presents a method to classify and learn cricket shots. The procedure begins by extracting the camera motion parameters from the shots. Then the camera parameter values are converted to symbolic form and combined to generate a symbolic description that defines the trajectory of the cricket bell. The description generated is used to classify the cricket shot and to dynamically expand or update the system's knowledge of shots. The first novel aspect of this approach is that by using the camera motion parameters, a complex and difficult process of low level image segmenting of either the batsman or the cricket ball from video images is avoided. Also the method does not require high resolution images. Another novel aspect of this work is the use of a new incremental learning algorithm that enables the system to improve and update its knowledge base. Unlike previously developed algorithms which store training instances and have simple method to prime their concept hierarchies, the incremental learning algorithm used in this work generates compact concept hierarchies and uses evidence based forgetting. The results show that the system performs well in the task of classifying four types of cricket shots.

Illumination-invariant face recognition from a single image across extreme pose using a dual dimension AAM ensemble in the thermal infrared spectrum

Over the course of the last decade, infrared (IR) and particularly thermal IR imaging based face recognition has emerged as a promising complement to conventional, visible spectrum based approaches which continue to struggle when applied in practice. While inherently insensitive to visible spectrum illumination changes, IR data introduces specific challenges of its own, most notably sensitivity to factors which affect facial heat emission patterns, e.g. emotional state, ambient temperature, and alcohol intake. In addition, facial expression and pose changes are more difficult to correct in IR images because they are less rich in high frequency detail which is an important cue for fitting any deformable model. In this paper we describe a novel method which addresses these major challenges. Specifically, when comparing two thermal IR images of faces, we mutually normalize their poses and facial expressions by using an active appearance model (AAM) to generate synthetic images of the two faces with a neutral facial expression and in the same view (the average of the two input views). This is achieved by piecewise affine warping which follows AAM fitting. A major contribution of our work is the use of an AAM ensemble in which each AAM is specialized to a particular range of poses and a particular region of the thermal IR face space. Combined with the contributions from our previous work which addressed the problem of reliable AAM fitting in the thermal IR spectrum, and the development of a person-specific representation robust to transient changes in the pattern of facial temperature emissions, the proposed ensemble framework accurately matches faces across the full range of yaw from frontal to profile, even in the presence of scale variation (e.g. due to the varying distance of a subject from the camera). The effectiveness of the proposed approach is demonstrated on the largest public database of thermal IR images of faces and a newly acquired data set of thermal IR motion videos. Our approach achieved perfect recognition performance on both data sets, significantly outperforming the current state of the art methods even when they are trained with multiple images spanning a range of head views.

Coathanger : Finalist in the 2014 Bowness Prize

In the attempt to understand how the camera works I built a camera obscura and discovered that photography exists without us. That nature produces pinholes of light that form images came as a revelation. This spawned a new way of exploring the body in motion through photography. Guided by instinctual body memory of light and space I impose rules on how and when I shoot. In this series I ‘performed’ states of motion by combining elements together - a pas de trois of gravity, water and body mass caught in a flash, the action commonly known as ‘bombing’. I continue to ‘choreograph’ the moment in photoshop just like dance notation as if it could be read and repeated.

Target coverage in camera networks for manufacturing workplaces

In this paper, we investigate the camera network placement problem for target coverage in manufacturing workplaces. The problem is formulated to find the minimum number of cameras of different types and their best configurations to maximise the coverage of the monitored workplace such that the given set of target points of interest are each k-covered with a predefined minimum spatial resolution. Since the problem is NP-complete, and even NP-hard to approximate, a novel method based on Simulated Annealing is presented to solve the optimisation problem. A new neighbourhood generation function is proposed to handle the discrete nature of the problem. The visual coverage is modelled using realistic and coherent assumptions of camera intrinsic and extrinsic parameters making it suitable for many real world camera based applications. Task-specific quality of coverage measure is proposed to assist selecting the best among the set of camera network placements with equal coverage. A 3D CAD of the monitored space is used to examine physical occlusions of target points. The results show the accuracy, efficiency and scalability of the presented solution method; which can be applied effectively in the design of practical camera networks.

Stillness and movement: a bodily approach to photography

My paper will address both Duration and temporality of the ‘still’ imageand Sensorial and bodily experience of photography through a discussion of a recent body of work ‘Fly Rhythm’, a series of photographs and video works exhibited in a gallery context.By acknowledging the inter-relationship between the body and the camera my project seeks to challenge a perceived separation between performance and photography. Fly Rhythm was conceived through a performative somatic process. Through using a custom made camera I was able to negotiate time and space to create a visual drawing of movement and stillness together in photography. The resultant images are discussed as a notation of body movement – a record of bodily history enabled through a self imposed discipline of learning to read light.I initially constructed a human size camera to understand how photography works. Spending time inside observing the way light moves and affects the formation of sight is also a way of embodying the act of photography. I responded by making a bespoke camera that enabled light to be captured during extended periods while moving. My project is dependent upon a self-imposed discipline of intuiting light’s strength and erratic changes, a skill developed by making analogue prints while inside a camera obscura. Once I had developed an ability to read light’s changes and gain an understanding of camera mechanics I made durational recordings moving through the landscape on Bruny Island Tasmania and industrial sites in Melbourne, photographs exhibited as part of Fly Rhythm. I will discuss these prints in context with the idea that light is a conduit through which past and present fuse together in a bodily act of photographing and processing images.I will explore durational aspects of photography by discussing light’s relative motion while taking photographs without using the viewfinder or composing images in the traditional way. Rather, the camera at the end of my arm is directed through how I read light therefore a choreography notated in the prints – a kind of body signatureMy practice enables a new the way of seeing, in a spontaneous hand held process creating a sense of embodiment. By analyzing process my paper will consider how the body together with analogue and 21st century digital technology coalesce cross-disciplinary practice combining visual art, performance and photographic disciplines.I also explored limitations of digital light in contrast with ‘natural’ light by a making a gamut of dissolving colour determined by the software based on two pixels. Projected into the ambient light ‘Glide’ is an 11minute durational work installed at the Substation Contemporary Art Space in Melbourne Australia.

Visually guided eye growth in the squid

Summary Eyes with refractive error have reduced visual acuity and are rarely found in the wild. Vertebrate eyes possess a visually guided emmetropisation process within the retina which detects the sign of defocus, and regulates eye growth to align the retina at the focal plane of the eye's optical components to avoid the development of refractive error, such as myopia, an increasing problem in humans [1]. However, the vertebrate retina is complex, and it is not known which of the many classes of retinal neurons are involved [2]. We investigated whether the camera-type eye of an invertebrate, the squid, displays visually guided emmetropisation, despite squid eyes having a simple photoreceptor-only retina [3]. We exploited inherent longitudinal chromatic aberration (LCA) to create disparate focal lengths within squid eyes. We found that squid raised under orange light had proportionately longer eyes and more myopic refractions than those raised under blue light, and when switched between wavelengths, eye size and refractive status changed appropriately within a few days. This demonstrates that squid eye growth is visually guided, and suggests that the complex retina seen in vertebrates may not be required for emmetropisation.

Technology as collaborator in somatic photographic practice

This article will address several areas of research. Firstly it will propose that a dance experience can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. By acknowledging the inter-relationship between the body and the camera my project seeks to challenge a perceived separation between the disciplines. Fly Rhythm, an exhibition of 13 photographs and one video projection was conceived through a performative somatic process. I have developed the term ‘somatic photography’ to articulate subjective experiences in the context of my process of imaging movement in stillness. My thinking has been informed by visual art practice exploring movement and meaning using video and an older history of performance as a dancer and choreographer. I am primarily interested in movement initiated by a bodily response to light through still rather than moving imagery although artists such as Maya Deren whose films explore themes of time and space have influenced me. In my practice the term ‘somatic photography’ helps articulate the act of taking photographs, which is how meaning is being created rather than purely in the finished art works. The term somatic photography puts emphasis on the action of taking the image. Through using a custom made camera I was able to negotiate time and space as a dancer and create a visual drawing that talked to both choreography and fine art practice. This article engages with the following ideas: somatic photography, photography as choreography, body memory, ageing body, technology as collaborator, gallery interface, screen interface and movement.