Raw as Archival Still Image Format: A Consideration

Source materials like fine art, over-sized, fragile maps, and delicate artifacts have traditionally been digitally converted through the use of controlled lighting and high resolution scanners and camera backs. In addition the capture of items such as general and special collections bound monographs has recently grown both through consortial efforts like the Internet Archive's Open Content Alliance and locally at the individual institution level. These projects, in turn, have introduced increasingly higher resolution consumer-grade digital single lens reflex cameras or "DSLRs" as a significant part of the general cultural heritage digital conversion workflow. Central to the authors' discussion is the fact that both camera backs and DSLRs commonly share the ability to capture native raw file formats. Because these formats include such advantages as access to an image's raw mosaic sensor data within their architecture, many institutions choose raw for initial capture due to its high bit-level and unprocessed nature. However to date these same raw formats, so important to many at the point of capture, have yet to be considered "archival" within most published still imaging standards, if they are considered at all. Throughout many workflows raw files are deleted and thrown away after more traditionally "archival" uncompressed TIFF or JPEG 2000 files have been derived downstream from their raw source formats [1][2]. As a result, the authors examine the nature of raw anew and consider the basic questions, Should raw files be retained? What might their role be? Might they in fact form a new archival format space? Included in the discussion is a survey of assorted raw file types and their attributes. Also addressed are various sustainability issues as they pertain to archival formats with a special emphasis on both raw's positive and negative characteristics as they apply to archival practices. Current common archival workflows versus possible raw-based ones are investigated as well. These comparisons are noted in the context of each approach's differing levels of usable captured image data, various preservation virtues, and the divergent ideas of strictly fixed renditions versus the potential for improved renditions over time. Special attention is given to the DNG raw format through a detailed inspection of a number of its various structural components and the roles that they play in the format's latest specification. Finally an evaluation is drawn of both proprietary raw formats in general and DNG in particular as possible alternative archival formats for still imaging.

Anvers, Rudd [non visible sur l'image] gagne [la] finale du 400 m [des Jeux olympiques, seuls apparaissent les coureurs Ainsworth, Shea et Dafel, 20/8/20] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60650

Development of 2-D MRT based Image Compression Techniques

The thesis explores the area of still image compression. The image compression techniques can be broadly classified into lossless and lossy compression. The most common lossy compression techniques are based on Transform coding, Vector Quantization and Fractals. Transform coding is the simplest of the above and generally employs reversible transforms like, DCT, DWT, etc. Mapped Real Transform (MRT) is an evolving integer transform, based on real additions alone. The present research work aims at developing new image compression techniques based on MRT. Most of the transform coding techniques employ fixed block size image segmentation, usually 8×8. Hence, a fixed block size transform coding is implemented using MRT and the merits and demerits are analyzed for both 8×8 and 4×4 blocks. The N2 unique MRT coefficients, for each block, are computed using templates. Considering the merits and demerits of fixed block size transform coding techniques, a hybrid form of these techniques is implemented to improve the performance of compression. The performance of the hybrid coder is found to be better compared to the fixed block size coders. Thus, if the block size is made adaptive, the performance can be further improved. In adaptive block size coding, the block size may vary from the size of the image to 2×2. Hence, the computation of MRT using templates is impractical due to memory requirements. So, an adaptive transform coder based on Unique MRT (UMRT), a compact form of MRT, is implemented to get better performance in terms of PSNR and HVS The suitability of MRT in vector quantization of images is then experimented. The UMRT based Classified Vector Quantization (CVQ) is implemented subsequently. The edges in the images are identified and classified by employing a UMRT based criteria. Based on the above experiments, a new technique named “MRT based Adaptive Transform Coder with Classified Vector Quantization (MATC-CVQ)”is developed. Its performance is evaluated and compared against existing techniques. A comparison with standard JPEG & the well-known Shapiro’s Embedded Zero-tree Wavelet (EZW) is done and found that the proposed technique gives better performance for majority of images

Geometry vs appearance for discriminating between posed and spontaneous emotions

Spontaneous facial expressions differ from posed ones in appearance, timing and accompanying head movements. Still images cannot provide timing or head movement information directly. However, indirectly the distances between key points on a face extracted from a still image using active shape models can capture some movement and pose changes. This information is superposed on information about non-rigid facial movement that is also part of the expression. Does geometric information improve the discrimination between spontaneous and posed facial expressions arising from discrete emotions? We investigate the performance of a machine vision system for discrimination between posed and spontaneous versions of six basic emotions that uses SIFT appearance based features and FAP geometric features. Experimental results on the NVIE database demonstrate that fusion of geometric information leads only to marginal improvement over appearance features. Using fusion features, surprise is the easiest emotion (83.4% accuracy) to be distinguished, while disgust is the most difficult (76.1%). Our results find different important facial regions between discriminating posed versus spontaneous version of one emotion and classifying the same emotion versus other emotions. The distribution of the selected SIFT features shows that mouth is more important for sadness, while nose is more important for surprise, however, both the nose and mouth are important for disgust, fear, and happiness. Eyebrows, eyes, nose and mouth are important for anger.

Medium and mode : relationships between visual experience and perception in an installation arts practice

Working primarily within the natural landscape, this practice-led research project explored connections between the artist's visual and perceptual experience of a journey or place while simultaneously emphasizing the capacity for digital media to create a perceptual dissonance. By exploring concepts of time, viewpoint, duration of sequences and the manipulation of traditional constructs of stop-frame animation, the practical work created a cognitive awareness of the elements of the journey through optical sensations. The work allowed an opportunity to reflect on the nature of visual experience and its mediation through images. The project recontextualized the selected mediums of still photography, animation and projection within contemporary display modes of multiple screen installations by analysing relationships between the experienced and the perceived. The resulting works added to current discourse on the interstices between still and moving imagery in a digital world.

Unlocking the "reminder" potential when viewers pause programs : results from a laboratory test of a new online medium

The branded pause advertisement is a recently developed online television-advertising format that displays a full-screen still-image banner ad whenever a viewer pauses a streaming-video program. This study used a controlled lab experiment to compare the effectiveness of branded pause advertisements with normal online television advertisements. The results demonstrate that branded pause advertisements are effective but only when combined with a long-exposure advertisement for the same brand. Despite their short exposure time, pause advertisements function as effective reminders, building awareness through repeat exposure. The findings of the current study were similar regardless of whether pause advertisements were activated as a result of viewers’ pausing at a time of their own choosing or whether viewers were interrupted.

Emilie Waldbaum Collection 1873-1876

Three certificates for Emilie Waldbaum's work as governess (1873-1876).

John Ettinger Collection 1941-1946

John Ettinger, 1987.