Sarah Gertrude Banks , photographic copy print handcolored January 1905 by a friend of the doctor

2 scans made - 1 using as is scanner settings (looks most like original) - one using the autocolor correct setting on the scanner (no fiddling by operator!). Original appearance - hs#.1of2, autocolor = hs#.2of2

Henry Tappan standing in photographic studio, pasted on autographed page, ca. 1862

2 scans - 1of2 shows full page with Tappan's autograph at 800 dpi, 2of2 = image alone at 2400 dpi

Architectural image and idiom: Making local

Using photographic images from South East Queensland mid-twentieth-century architecture, this essay investigates the translation and regeneration of modern themes into a local idiom that resonates with poetic qualities of pre-existent forms of inhabitation. It contributes to the discussion of the photograph's role in communicating meaning in architecture through its potential to "reveal" the idiomatic.

Incremental nature of anterior eye grading scales determined by objective image analysis

Aim: To use previously validated image analysis techniques to determine the incremental nature of printed subjective anterior eye grading scales. Methods: A purpose designed computer program was written to detect edges using a 3 × 3 kernal and to extract colour planes in the selected area of an image. Annunziato and Efron pictorial, and CCLRU and Vistakon-Synoptik photographic grades of bulbar hyperaemia, palpebral hyperaemia roughness, and corneal staining were analysed. Results: The increments of the grading scales were best described by a quadratic rather than a linear function. Edge detection and colour extraction image analysis for bulbar hyperaemia (r2 = 0.35-0.99), palpebral hyperaemia (r2 = 0.71-0.99), palpebral roughness (r2 = 0.30-0.94), and corneal staining (r2 = 0.57-0.99) correlated well with scale grades, although the increments varied in magnitude and direction between different scales. Repeated image analysis measures had a 95% confidence interval of between 0.02 (colour extraction) and 0.10 (edge detection) scale units (on a 0-4 scale). Conclusion: The printed grading scales were more sensitive for grading features of low severity, but grades were not comparable between grading scales. Palpebral hyperaemia and staining grading is complicated by the variable presentations possible. Image analysis techniques are 6-35 times more repeatable than subjective grading, with a sensitivity of 1.2-2.8% of the scale.

Photographic Plate Libraries at European Astronomical Observatories

ACM Computing Classification System (1998): J.2.

Software Tools for Digitization of Astronomical Photographic Plates

ACM Computing Classification System (1998): J.2.

Weighted ICP Algorithm for Alignment of Stars from Scanned Astronomical Photographic Plates

ACM Computing Classification System (1998): I.2.8, I.2.10, I.5.1, J.2.

Adaptive Document Image Binarization with Application in Processing Astronomical Logbooks

ACM Computing Classification System (1998): I.7, I.7.5.

A stereo-image analysis JAVA software with links to executable and source code

Scientists planning to use underwater stereoscopic image technologies are often faced with numerous problems during the methodological implementations: commercial equipment is too expensive; the setup or calibration is too complex; or the imaging processing (i.e. measuring objects in the stereo-images) is too complicated to be performed without a time-consuming phase of training and evaluation. The present paper addresses some of these problems and describes a workflow for stereoscopic measurements for marine biologists. It also provides instructions on how to assemble an underwater stereo-photographic system with two digital consumer cameras and gives step-by-step guidelines for setting up the hardware. The second part details a software procedure to correct stereo-image pairs for lens distortions, which is especially important when using cameras with non-calibrated optical units. The final part presents a guide to the process of measuring the lengths (or distances) of objects in stereoscopic image pairs. To reveal the applicability and the restrictions of the described systems and to test the effects of different types of camera (a compact camera and an SLR type), experiments were performed to determine the precision and accuracy of two generic stereo-imaging units: a diver-operated system based on two Olympus Mju 1030SW compact cameras and a cable-connected observatory system based on two Canon 1100D SLR cameras. In the simplest setup without any correction for lens distortion, the low-budget Olympus Mju 1030SW system achieved mean accuracy errors (percentage deviation of a measurement from the object's real size) between 10.2 and -7.6% (overall mean value: -0.6%), depending on the size, orientation and distance of the measured object from the camera. With the single lens reflex (SLR) system, very similar values between 10.1% and -3.4% (overall mean value: -1.2%) were observed. Correction of the lens distortion significantly improved the mean accuracy errors of either system. Even more, system precision (spread of the accuracy) improved significantly in both systems. Neither the use of a wide-angle converter nor multiple reassembly of the system had a significant negative effect on the results. The study shows that underwater stereophotography, independent of the system, has a high potential for robust and non-destructive in situ sampling and can be used without prior specialist training.

Renouncing the Single Image: Photography and the Realism of Abstraction

This essay addresses the issue of the relationship between abstraction and realism that it argues is at stake in the rejection of any primacy accorded to the single image, in favour of a sequencing of photographs according to certain, often novelistic and epic ideas of narrative form. Setting out from the opening text of Allan Sekula’s Fish Story, the article explores the competing tendencies towards what Georg Lukács termed ‘narration’ and ‘description’ as these are traced throughout Sekula's project (in part through a comparison with the contrasting works of Andreas Gursky). The essay concludes by suggesting the ways in which it is the irreducible actuality of abstraction within the concrete everydayness of capitalism's social world that means that all photographic ‘realism’ is intrinsically ‘haunted’ by a certain spectre of that ‘self-moving substance in the ‘shape of money’, as Marx calls it, or of the abstract form of capital itself.

Silence and the Image: Raymond Depardon's New York, N.Y.

What was given up in giving up the silence of film, in particular the silence of the city? Echoing Stanley Cavell, this essay contemplates Raymond Depardon’s experimental documentary New York, N.Y. (1985), a film that travels between sound and silence, quietly addressing questions concerning the nature of the photographic medium itself.

Tradução, adaptação cultural e validação do questionário Body image After Breast Cancer para a língua portuguesa do Brasil

Universidade Estadual de Campinas . Faculdade de Educação Física

Tradução, adaptação transcultural e validação do "Body Image Avoidance Questionnaire (BIAQ)" e do "Body Checking Questionnaire (BCQ)" para lingua portuguesa no Brasil

Universidade Estadual de Campinas . Faculdade de Educação Física