Development of a system for craniofacial analysis from monitor-displayed digital images

1999 ◽  
Vol 28 (2) ◽  
pp. 123-126 ◽  
Author(s):  
E Gotfredsen ◽  
J Kragskov ◽  
A Wenzel
Keyword(s):  
Digital Images

Reduction in size of digital images: does it lead to less detectability or loss of diagnostic information?

1998 ◽  
Vol 27 (2) ◽  
pp. 93-96 ◽  
Author(s):  
C H Versteeg ◽  
G C H Sanderink ◽  
S R Lobach ◽  
P F van der Stelt
Keyword(s):  
Digital Images ◽  
Diagnostic Information

Authentication of Digital Image using Exif Metadata and Decoding Properties

2018 ◽  
pp. 335-341 ◽  
Author(s):  
D. P. Gangwar ◽  
Anju Pathania
Keyword(s):  
Digital Image ◽  
Digital Images ◽  
Software Tools ◽  
Robust Analysis

This work presents a robust analysis of digital images to detect the modifications/ morphing/ editing signs by using the image’s exif metadata, thumbnail, camera traces, image markers, Huffman codec and Markers, Compression signatures etc. properties. The details of the whole methodology and findings are described in the present work. The main advantage of the methodology is that the whole analysis has been done by using software/tools which are easily available in open sources.

I Think We’re Alone Now

2020 ◽  
Vol 6 (4) ◽  
pp. 183-210
Author(s):  
Erin Nunoda
Keyword(s):  
Public Sphere ◽  
Digital Images ◽  
Empty Space ◽  
The Public ◽  
Youtube Videos ◽  
The Public Sphere

This article examines YouTube videos (primarily distributed by a user named Cecil Robert) that document so-called dead malls: unpopulated, unproductive, but not necessarily demolished consumerist sites that have proliferated in the wake of the 2008 recession. These works link digital images of mall interiors with pop-song remixes so as to re-create the experience of hearing a track while standing within the empty space; manipulating the songs’ audio frequencies heightens echo effects and fosters an impression of ghostly dislocation. This article argues that these videos locate a potentiality in abandoned mall spaces for the exploration of queer (non)relations. It suggests that the videos’ emphasis on lonely, unconsummated intimacies questions circuitous visions of the public sphere, participatory dynamics online, and the presumably conservative biopolitics (both at its height and in its memorialization) of mall architecture.

A METHOD FOR AUTOMATIC BLIND ESTIMATION OF ADDITIVE NOISE VARIANCE IN DIGITAL IMAGES

2010 ◽  
Vol 69 (19) ◽  
pp. 1681-1702
Author(s):  
V. V. Lukin ◽  
S. K. Abramov ◽  
A. V. Popov ◽  
P. Ye. Eltsov ◽  
Benoit Vozel ◽  
...  
Keyword(s):  
Additive Noise ◽  
Digital Images ◽  
Blind Estimation ◽  
Noise Variance

CONTRAST ENHANCEMENT IN GRAYSCALE DIGITAL IMAGES APPLYING ATOMIC FUNCTIONS IN FUZZY LOGIC

2013 ◽  
Vol 72 (19) ◽  
pp. 1787-1801
Author(s):  
C. M. Vargas-Martinez ◽  
Victor Filippovich Kravchenko ◽  
Vladimir Il'ich Ponomarev ◽  
Juan Carlos Sanchez-Garcia
Keyword(s):  
Fuzzy Logic ◽  
Contrast Enhancement ◽  
Digital Images

IMAJINASI KE IMAJINASI VISUAL FOTOGRAFI

2017 ◽  
Vol 12 (2) ◽  
pp. 91
Author(s):  
Edial Rusli
Keyword(s):  
Creative Process ◽  
Single Unit ◽  
Digital Images ◽  
Visual Image ◽  
Construction Process ◽  
Multiple Images ◽  
Artistic Process ◽  
Visual Imagination ◽  
Human Thought ◽  
The Media

AbstrakImaji visual fotografi merupakan media rekam visual yang objektif dan representatifkebenarannya dalam merekam suatu realitas. Revolusi teknologi menyebabkan perubahandari teknologi fotografi analog sebagai salah satu media yang menyatakan kebenaran ataubukti dan sebagai media yang representatif kebenarannya ke teknologi digital yang dapatmemungkinkan untuk merekayasa gambar digital melalui perangkat lunak. Teknologi digitaltelah menjadikan kebenaran dalam sebuah foto tidak lagi absolut. Akhirnya fotografi sebagaialat perekam imaji yang representatif kebenarannya semakin diragukan. Karena semakin sulituntuk membedakan foto asli atau palsu, bahkan sebuah foto asli bisa saja dikatakan sebagaihasil manipulasi. Penciptaan imajinasi visual fotografi ini dihasilkan dari suatu olah daya pikirmanusia. Dalam proses tersebut dibutuhkan suatu kreativitas dari penggabungan imaji-imajisebelumnya atau sekarang ini untuk diimajinasikan. Pemaknaan akan bergeser dari imaji visualfotografi menjadi imaji visual fotografi yang baru. Proses artistik imajinasi visual ini diciptakandengan didasarkan pada artistik yang berdasarkan imajinasi, artistik berdasarkan imajinasi danartistik didasarkan pada kombinasi antara kenyataan dan imajinasi. Penciptaan Imajinasi visualfotografi merupakan daya untuk mengonstruksi ataau menggabungkan kembali dari berbagaiimaji-imaji atau foto- secara imajinatif dan kreatif dengan persepsi yang menyertainya untukmenjadi imaji baru yang utuh, logis, dan mungkin terjadi dengan menggunakan teknik danefek fotografi. Proses mengonstruksi membutuhkan suatu kemampuan berimajinasi untukmenggabungkan dan menyatukannya untuk menjadi satu kesatuan (unity) yang utuh dalam satupermukaan gambar/imaji secara ekspresif dan imajinatif melalui proses estetis yang kreatifberdasarkan ciri personal penciptanya. Dengan demikian, hasil dari proses konstruksi tersebutsudah tidak tampak lagi imaji sebelumnya dan pemaknaannya sudah bergeser menjadi karyaimaji dengan pemaknaan baru.AbstractImage to Photography Visual Imagination. Visual image of photography is a visual recordingmedia which is objective and representative in revealing the truth when recording a reality. Thetechnology revolution led to the change in photography, from analog photographic technologyas one of the media for promoting truth or evidence and as media representing truth to thedigital technology which allow people to manipulate digital images through software. Digitaltechnology has made the truth in a photograph is no longer absolute. In the end, photographyas an images recording tool representing truth is doubted. It is getting harder and moredifficult to distinguish the original or fake photo, even an original photo can be said as aresult of manipulation.The creation of visual imagination photography is produced by thepower of human thought. The process requires a creativity of merging the previous or recentimages to imagine. The meanings will be shifted from visual image photography into a newvisual image photography. Visual imagination of the artistic process is created on the basisof artistic imagination, artistic imagination and artistic are based on a combination of realityand imagination.The creation of visual photography imagination is a power to construct orrecombine from multiple images or pictures imaginatively and creatively with the perceptionto be a whole new image, logical, and may occur with the use of techniques and photographiceffects. The process of constructing requires an ability of imagining to combine and unitethem into a single unit as a unity which is intact on s single surface of the picture/image,expressively and imaginatively through an aesthetic creative process based on the personalcharacteristics of the creator. By doing so, the construction process will no longer visible onthe former image and the meaning will shift into an image with a new meaning.

STEGANOGRAFI DENGAN MENGGUNAKAN METODE LSB DAN ALGORITMA HILL CIPHER

2017 ◽  
Vol 1 (1) ◽  
Author(s):  
Sherly Gina Supratman
Keyword(s):  
Digital Images ◽  
Text Messages ◽  
The Internet ◽  
Digital Imagery ◽  
Least Significant Bit ◽  
Hill Cipher ◽  
Secure Data ◽  
Audio Video ◽  
The Hill

AbstrakJaringan Komunikasi seperti Internet� merupakan jaringan yang tidak aman untuk mentransmisi data, seperti teks, audio,video dan citra digital. Salah satu cara untuk pengamanan data dapat dilakukan dengan menggunakan proses kriptografi dan �steganografi. Penggunaan ini dengan tujuan untuk merahasiakan pesan yang dikirim dan sekaligus menghindarkan pesan tersebut dari kecurigaan pihak lain yang tidak berkepentingan.Pesan yang digunakan dalam makalah ini adalah berupa text dengan menyisipkannya pada gambar. Pada proses kriptografi, pesan yang berupa text akan dienkrip dengan algoritma Hill Chiper, dan kemudian pesan yang telah dienkrip akan dilakukan proses steganografi pada citra digital� 8 bit dengan skala 0 � 255, dengan metode Least Significant Bit ( LSB ).�Kata kunci: Kriptografi, Hill Chiper, Steganografi, Least Significant Bit�AbstractCommunication Networks such as the Internet are unsafe networks for transmitting data, such as text, audio, video and digital imagery. One way to secure data can be done by using cryptography and steganography process. This use is for the purpose of concealing messages being transmitted and avoiding such messages from the suspicion by others who are not interested.The message used in this paper is text by inserting it in the image. In the cryptographic process, text messages will be encrypted with the Hill Chiper algorithm, and then the encrypted message will be steganographed on 8-bit digital images on a scale of 0-255, using the Least Significant Bit (LSB) method.�Keywords: Cryptography, Hill Chiper, Steganography, Least Significant Bit

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