Extraction of tidal channel networks from aerial photographs alone and combined with laser altimetry

Tidal channel networks play an important role in the intertidal zone, exerting substantial control over the hydrodynamics and sediment transport of the region and hence over the evolution of the salt marshes and tidal flats. The study of the morphodynamics of tidal channels is currently an active area of research, and a number of theories have been proposed which require for their validation measurement of channels over extensive areas. Remotely sensed data provide a suitable means for such channel mapping. The paper describes a technique that may be adapted to extract tidal channels from either aerial photographs or LiDAR data separately, or from both types of data used together in a fusion approach. Application of the technique to channel extraction from LiDAR data has been described previously. However, aerial photographs of intertidal zones are much more commonly available than LiDAR data, and most LiDAR flights now involve acquisition of multispectral images to complement the LiDAR data. In view of this, the paper investigates the use of multispectral data for semiautomatic identification of tidal channels, firstly from only aerial photographs or linescanner data, and secondly from fused linescanner and LiDAR data sets. A multi-level, knowledge-based approach is employed. The algorithm based on aerial photography can achieve a useful channel extraction, though may fail to detect some of the smaller channels, partly because the spectral response of parts of the non-channel areas may be similar to that of the channels. The algorithm for channel extraction from fused LiDAR and spectral data gives an increased accuracy, though only slightly higher than that obtained using LiDAR data alone. The results illustrate the difficulty of developing a fully automated method, and justify the semi-automatic approach adopted.

Extraction of tidal channel networks from airborne scanning laser altimetry and aerial photography

The study of the morphodynamics of tidal channel networks is important because of their role in tidal propagation and the evolution of salt-marshes and tidal flats. Channel dimensions range from tens of metres wide and metres deep near the low water mark to only 20-30cm wide and 20cm deep for the smallest channels on the marshes. The conventional method of measuring the networks is cumbersome, involving manual digitising of aerial photographs. This paper describes a semi-automatic knowledge-based network extraction method that is being implemented to work using airborne scanning laser altimetry (and later aerial photography). The channels exhibit a width variation of several orders of magnitude, making an approach based on multi-scale line detection difficult. The processing therefore uses multi-scale edge detection to detect channel edges, then associates adjacent anti-parallel edges together to form channels using a distance-with-destination transform. Breaks in the networks are repaired by extending channel ends in the direction of their ends to join with nearby channels, using domain knowledge that flow paths should proceed downhill and that any network fragment should be joined to a nearby fragment so as to connect eventually to the open sea.

Divine proportions and facial esthetics after manipulation of frontal photographs.

AIM: To investigate the relationship between divine proportion and facial esthetics in frontal photographs as well as whether any of the 4 ratios for manipulation provide more favorable facial esthetics. MATERIAL AND METHODS: The sample comprised 20 frontal photographs of Caucasian individuals (11 males and 9 females). The photographs were digitized and stored on a compact disk. A photometric analysis was created with 7 facial segments that were measured on Image Tool software and 4 ratios between 2 facial segments calculated using Microsoft Excel. This manipulation led to 5 different photographs of the same individual: one photograph with no manipulation and the others with 1 of the ratios manipulated in the Deformer 2.0 to very close or equal to 1.618. Thereafter, the 5 photographs of all individuals were evaluated by 12 examiners. The examiners selected those photographs that were esthetically more pleasant. CONCLUSION: After evaluation, a chi-square test revealed a relationship between divine proportion and facial esthetics. Among the ratios selected, R1 and R2 provided more favorable facial esthetics.

An Ethical History of Photography in Combat and of Combat Photography in the United States during World War II

With the United States‘ entry into the Second World War, the word ?censorship? was seen largely as antithetical to, rather than a necessary counterpart to, victory among Americans. People did not want to be censored in their writing, photographs or speech,but it proved to be necessary even before the war began, in order to protect government secrets and the people on the home-front from scenes that were too disturbing. Even before the war had officially begun, there were problems with censorship among journalists and newspapers. The initial response of outrage in reference to censorship in the United States was common among journalists, newspapers, magazines, and radio news; nevertheless, there was a necessity for censorship among Americans, on the home frontand the front lines, and it would be tolerated throughout the war to ensure that enemies of America did not gain access to information that would assist in a defeat of the United States in the Second World War. The research I have conducted has dealt with the censorship of combat photography during World War II, in conjunction with the ethics that were in play at the time that affected the censors. Through exploring the work of three combat photographers — Tony Vaccaro, James R. Stephens and Charles E. Sumners — I wasable to effectively construct an explanatory ethical history of these three men. Research on the censorship and effects it had on the United States brought me to three distinctareas of censorship and ethics that would be explored: (1) the restrictions and limitations enforced by the Office of Censorship, (2) a general overview of war and photography as it influenced the soldiers and their families on the home-front, (3) and the combat photographers and personal and military censorship that influenced their work. Although their work was censored both by the military and the government, these men saw the war in a different light that remained with them long after the battles and war had ceased.Using the narratives of Tony Vaccaro, Charles E. Sumners and James R. Stephens as means for more in depth research, this thesis strives to create lenses through which to view the history and ethics of censorship that shaped combat photography during the Second World War and the images to which we refer as representative of that war today.

Interrogating the spaces of personal photography : women, identity, and the cultural formation of photographic practice

Personal photographs permeate our lives from the moment we are born as they define who we are within our familial group and local communities. Archived in family albums or framed on living room walls, they continue on after our death as mnemonic artifacts referencing our gendered, raced, and ethnic identities. This dissertation examines salient instances of what women “do” with personal photographs, not only as authors and subjects but also as collectors, archivists, and family and cultural historians. This project seeks to contribute to more productive, complex discourse about how women form relationships and engage with the conventions and practices of personal photography. In the first part of this dissertation I revisit developments in the history of personal photography, including the advertising campaigns of the Kodak and Agfa Girls and the development of albums such as the Stammbuch and its predecessor, the carte-de-visite, that demonstrate how personal photography has functioned as a gendered activity that references family unity, sentimentalism for the past, and self-representation within normative familial and dominant cultural groups, thus suggesting its importance as a cultural practice of identity formation. The second and primary section of the dissertation expands on the critical analyses of Gillian Rose, Patricia Holland, and Nancy Martha West, who propose that personal photography, marketed to and taken on by women, double-exposes their gendered identities. Drawing on work by critics such as Deborah Willis, bell hooks, and Abigail Solomon-Godeau, I examine how the reconfiguration, recontextualization, and relocation of personal photographs in the respective work of Christine Saari, Fern Logan, and Katie Knight interrogates and complicates gendered, raced, and ethnic identities and cultural attitudes about them. In the final section of the dissertation I briefly examine select examples of how emerging digital spaces on the Internet function as a site for personal photography, one that both reinscribes traditional cultural formations while offering new opportunities for women for the display and audiencing of identities outside the family.

3D documentation and visualization of external injury findings by integration of simple photography in CT/MRI data sets (IprojeCT).

This study evaluated the feasibility of documenting patterned injury using three dimensions and true colour photography without complex 3D surface documentation methods. This method is based on a generated 3D surface model using radiologic slice images (CT) while the colour information is derived from photographs taken with commercially available cameras. The external patterned injuries were documented in 16 cases using digital photography as well as highly precise photogrammetry-supported 3D structured light scanning. The internal findings of these deceased were recorded using CT and MRI. For registration of the internal with the external data, two different types of radiographic markers were used and compared. The 3D surface model generated from CT slice images was linked with the photographs, and thereby digital true-colour 3D models of the patterned injuries could be created (Image projection onto CT/IprojeCT). In addition, these external models were merged with the models of the somatic interior. We demonstrated that 3D documentation and visualization of external injury findings by integration of digital photography in CT/MRI data sets is suitable for the 3D documentation of individual patterned injuries to a body. Nevertheless, this documentation method is not a substitution for photogrammetry and surface scanning, especially when the entire bodily surface is to be recorded in three dimensions including all external findings, and when precise data is required for comparing highly detailed injury features with the injury-inflicting tool.

A complete treatise on the art of retouching photographic negatives and clear directions how to finish & colour photographs.

Mode of access: Internet.

Investigations of basic geometric quality of aerial photographs and some related problems /

"17 August 1962."