Trial by fire at San Francisco; the evidence of the camera. Pub. by National fire proofing company ...

Mode of access: Internet.

The Camera.

Description based on: vol. 5, no. 1.

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.

Use of camera trapping in determining Iberian lynx population parameters: The use area and its limitations

Below are the results of the survey of the Iberian lynx obtained with camera-trapping between 2000 and 2007 in Sierra Morena. Two very important aspects of camera-trapping concerning its efficiency are also analyzed. The first is the evolution along years according to the camera-trapping type used of two efficiency indicators. The results obtained demonstrate that the most efficient lure is rabbit, though it is the less proven (92 trap-nights), followed by camera-trapping in the most frequent marking places (latrines). And, we propose as a novel the concept of use area as a spatial reference unit for the camera-trapping monitoring of non radio-marked animals is proposed, and its validity discussed.

Conversion of a digital camera into a non-contact colorimeter for use in stone cultural heritage: The application case to Spanish granites

In this study, a digital CMOS camera was calibrated for use as a non-contact colorimeter for measuring the color of granite artworks. The low chroma values of the granite, which yield similar stimulation of the three color channels of the camera, proved to be the most challenging aspect of the task. The appropriate parameters for converting the device-dependent RGB color space into a device-independent color space were established. For this purpose, the color of a large number of Munsell samples (corresponding to the previously defined color gamut of granite) was measured with a digital camera and with a spectrophotometer (reference instrument). The color data were then compared using the CIELAB color formulae. The best correlations between measurements were obtained when the camera works to 10-bits and the spectrophotometric measures in SCI mode. Finally, the calibrated instrument was used successfully to measure the color of six commercial varieties of Spanish granite.

The light of Gairdner

The Light of Gairdner is a key work of the author's exhibition Lightsite, which toured Western Australian galleries from February 2006 to November 2007. It is a five-minute-long exposure photographic image captured inside a purpose-built, room-sized pinhole camera which is demountable and does not have a floor. The Light of Gairdner depicts two brothers Allan and Harvey Lynch during their barley harvest. Allan is standing outside the pinhole camera-room in the barley field. The light from this exterior landscape is 'projected' inside the camera-room and illuminates the interior scene which includes that part of the barley field upon which the floorless room is erected, along with Harvey who is standing inside. The image evokes the temporality of light. Here, light itself is portrayed as the primary medium through which we both perceive and describe landscape. It is through the agency of light that we construct our connectivity to landscape. The exhibition/catalogue statement. "Harvey and Allan Lynch lost their father Frank, in a crop dusting crash five years ago. They now manage their dad's 6000 acre farm and are photographed here at the time of their barley harvest."

The light of Gairdner 2

The Light of Gairdner 2 is a key work of the author's exhibition Lightsite, which toured Western Australian galleries from February 2006 to November 2007. It is a five-minute-long exposure photographic image captured inside a purpose-built, room-sized pinhole camera which is demountable and does not have a floor. The Light of Gairdner 2 depicts two brothers Allan and Harvey Lynch during their barley harvest. Allan is standing outside the pinhole camera-room in the barley field with their new 'CASE' harvester. The light from this exterior landscape is 'projected' inside the camera-room and illuminates the interior scene which includes that part of the barley field upon which the floorless room is erected, along with Harvey who is standing inside. The image evokes the temporality of light. Here, light itself is portrayed as the primary medium through which we both perceive and describe landscape. In this way it is through the agency of light that we construct our connectivity to landscape. The exhibition/catalogue statement. "Harvey and Allan Lynch lost their father Frank, in a crop dusting crash five years ago. They now manage their dad's 6000 acre farm and are photographed here at the time of their barley harvest. The Light of Gairdner 2 features their new 'CASE' harvester, and in the distance, the grain silos of Gairdner."

Jack's Bay (the architecturalisation of memory)

Jack's Bay (the architecturalisation of memory) is a key work of the author's exhibition Lightsite, which toured Western Australian galleries from February 2006 to November 2007. It is a five-minute-long exposure photographic image captured inside a purpose-built, room-sized pinhole camera which is demountable and does not have a floor. The work depicts octogenarian Jack Morris, who for forty years held the professional salmon fishing license in the hamlet of Bremer Bay, on the SE coast of Western Australia. The pinhole camera-room is sited within sand dunes new Jack's now demolished beachside camp. Three generations of Jack's descendents stand outside the room - from his daughter to his great grand children. The light from this exterior landscape is 'projected' inside the camera-room and illuminates the interior scene which includes that part of the sand dune upon which the floorless room is erected, along with Jack who is sitting inside. The image evokes the temporality of light. Here, light itself is portrayed as the primary medium through which we both perceive and describe landscape. In this way it is through the agency of light that we construct our connectivity to landscape.

Extending the dynamic range of robotic vision

Conventional cameras have limited dynamic range, and as a result vision-based robots cannot effectively view an environment made up of both sunny outdoor areas and darker indoor areas. This paper presents an approach to extend the effective dynamic range of a camera, achieved by changing the exposure level of the camera in real-time to form a sequence of images which collectively cover a wide range of radiance. Individual control algorithms for each image have been developed to maximize the viewable area across the sequence. Spatial discrepancies between images, caused by the moving robot, are improved by a real-time image registration process. The sequence is then combined by merging color and contour information. By integrating these techniques it becomes possible to operate a vision-based robot in wide radiance range scenes.

Camera calibration in wireless multimedia sensor networks

Wireless Multi-media Sensor Networks (WMSNs) have become increasingly popular in recent years, driven in part by the increasing commoditization of small, low-cost CMOS sensors. As such, the challenge of automatically calibrating these types of cameras nodes has become an important research problem, especially for the case when a large quantity of these type of devices are deployed. This paper presents a method for automatically calibrating a wireless camera node with the ability to rotate around one axis. The method involves capturing images as the camera is rotated and computing the homographies between the images. The camera parameters, including focal length, principal point and the angle and axis of rotation can then recovered from two or more homographies. The homography computation algorithm is designed to deal with the limited resources of the wireless sensor and to minimize energy con- sumption. In this paper, a modified RANdom SAmple Consensus (RANSAC) algorithm is proposed to effectively increase the efficiency and reliability of the calibration procedure.

Distributed object tracking with robot and disjoint camera networks

We describe a novel two stage approach to object localization and tracking using a network of wireless cameras and a mobile robot. In the first stage, a robot travels through the camera network while updating its position in a global coordinate frame which it broadcasts to the cameras. The cameras use this information, along with image plane location of the robot, to compute a mapping from their image planes to the global coordinate frame. This is combined with an occupancy map generated by the robot during the mapping process to track the objects. We present results with a nine node indoor camera network to demonstrate that this approach is feasible and offers acceptable level of accuracy in terms of object locations.

PTZ camera pose estimation by tracking a 3D target

We present a technique for estimating the 6DOF pose of a PTZ camera by tracking a single moving target in the image with known 3D position. This is useful in situations where it is not practical to measure the camera pose directly. Our application domain is estimating the pose of a PTZ camerso so that it can be used for automated GPS-based tracking and filming of UAV flight trials. We present results which show the technique is able to localize a PTZ after a short vision-tracked flight, and that the estimated pose is sufficiently accurate for the PTZ to then actively track a UAV based on GPS position data.

Awakening the spirit : telling the stories

Stephen Page talking with Cheryl Stock Stephen Page is one of the most significant dance artists working in Australia today, unique in his ability to forge and sustain a company of Indigenous artists through his seminal leadership of Bangarra Dance Theatre, which celebrated its 20 year anniversary in 2009. Together with the many artists who have contributed to the Bangarra vision, Stephen has created a distinctive contemporary Indigenous dance style and approach, celebrated for the stories it tells of the Aboriginal and Torres Strait Islander experience. Fusing the traditional with the contemporary through a connection to the spirit of the land and its people, Stephen has inspired and influenced a generation of Aboriginal and Torres Strait Islander dance and theatre artists as a choreographer, director and mentor. His down to earth humour, his passion and his sensitivity draw us as audience, Indigenous and non-Indigenous alike, to his theatrical stories of place and spirit – both ancient and modern – in ways that simultaneously transcend and reaffirm the particular cultural experience which informs them. This conversation covers the early years of growing up with his 'urban clan', discovering dance and politics and his spiritual awakening at Yirrkala. Stephen then describes moving in and out of different realities as a member of Sydney Dance Company whilst simultaneously exploring his Indigenous dance voice, the transition from dancer to choreographer, creating the Bangarra identity and the intercultural experiment of 'Rites' with the Australian Ballet. The last section looks at his various roles as an artistic director and nurturing the next generation of Indigenous artists.