scholarly journals Face texture synthesis from multiple images via sparse and dense correspondence

2016 ◽  
Author(s):  
Shugo Yamaguchi ◽  
Shigeo Morishima
Keyword(s):  
Texture Synthesis ◽  
Multiple Images ◽  
Dense Correspondence

Stereo modeling of HVEM specimens by serial tilting and computer graphics

1986 ◽  
Vol 44 ◽  
pp. 34-35
Author(s):  
J.R. McIntosh ◽  
D.L. Stemple ◽  
William Bishop ◽  
G.W. Hannaway
Keyword(s):  
Computer Graphics ◽  
Analytical Methods ◽  
Photographic Film ◽  
Complex Structures ◽  
Multiple Objects ◽  
Multiple Images ◽  
3 Dimensional

EM specimens often contain 3-dimensional information that is lost during micrography on a single photographic film. Two images of one specimen at appropriate orientations give a stereo view, but complex structures composed of multiple objects of graded density that superimpose in each projection are often difficult to decipher in stereo. Several analytical methods for 3-D reconstruction from multiple images of a serially tilted specimen are available, but they are all time-consuming and computationally intense.

A New Detector System For The HB5 Stem Instrument

1985 ◽  
Vol 43 ◽  
pp. 134-135
Author(s):  
J.M. Cowley
Keyword(s):  
Dark Field ◽  
Detector System ◽  
Electron Holography ◽  
Small Specimen ◽  
Bright Field ◽  
Multiple Images ◽  
Practical Applications ◽  
Wide Range ◽  
Diffraction Patterns ◽  
Operational Modes

The HB5 STEM instrument at ASU has been modified previously to include an efficient two-dimensional detector incorporating an optical analyser device and also a digital system for the recording of multiple images. The detector system was built to explore a wide range of possibilities including in-line electron holography, the observation and recording of diffraction patterns from very small specimen regions (having diameters as small as 3Å) and the formation of both bright field and dark field images by detection of various portions of the diffraction pattern. Experience in the use of this system has shown that sane of its capabilities are unique and valuable. For other purposes it appears that, while the principles of the operational modes may be verified, the practical applications are limited by the details of the initial design.

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.

Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light

2014 ◽  
Author(s):  
Ida Bagus Candra Yana*
Keyword(s):  
Visual Arts ◽  
Dance Movement ◽  
Multiple Images ◽  
Strobe Light ◽  
Creative Idea ◽  
The Arts ◽  
Art Works ◽  
Art Photography ◽  
Aesthetic Values ◽  
Aesthetic Expression

Dance  photography  is  a  photo  shoot  on a  dance  movement  which  has  a  characteristic as  it  shows  on  a  particular  movement  with unique costumes. The arts of dance photography specifically describes through a specific thematic effect  with  an  aesthetic  and  creative  oncoming. Based on the photographer experience to capture the  light  together  with  his  aesthetic  expression on  movement  photography,  he  finally  presented the  visual  arts  on  Baris  Tunggal  Dance  in  art photography expressions using strobe light. Basically,  the  creative  works  focused on  the  dancer  movements  and  transformed  into photography  expression  which  blended  with aesthetic  and  creative  idea  (ideational)  also  the technical photo shoot capability (technical) of the photographer. The photo shoots technique chosen through a variety of consideration which oriented on practical implementations possibilities, resulting photographs  in  freeze,  blurred,  and  multiple-images  as  art  photography.  The  art  photograph includes  extrinsic  and  intrinsic  aesthetic  values through photo presentation. With the presence of this photography art works it was not only present Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light in the form of mere documentation but it was the art photography expression on creative and aesthetic level. Keywords:  movements,  Baris  Tunggal  Dance, photography expression, strobo-light * Dosen ISI Denpasar

Wang Tile-based improved texture synthesis

2010 ◽  
Vol 30 (8) ◽  
pp. 2098-2100 ◽  
Author(s):  
Feng XUE ◽  
Cheng CHENG ◽  
Ju-lang JIANG
Keyword(s):  
Texture Synthesis ◽  
Wang Tile

Review on Recent Patents in Texture Synthesis

2010 ◽  
Vol 2 (2) ◽  
pp. 111-115
Author(s):  
Weiming Dong ◽  
Jean-Claude Paul
Keyword(s):  
Texture Synthesis

Face detection in single and multiple images using different skin color models

2020 ◽  
Vol 13 ◽  
Author(s):  
Manpreet Kaur ◽  
Jasdev Bhatti ◽  
Mohit Kumar Kakkar ◽  
Arun Upmanyu
Keyword(s):  
Face Detection ◽  
Skin Color ◽  
Input Image ◽  
Morphological Operations ◽  
Reliability Model ◽  
Multiple Images ◽  
Face Region ◽  
Bounding Box ◽  
The Face ◽  
Precision And Accuracy

Introduction: Face Detection is used in many different steams like video conferencing, human-computer interface, in face detection, and in the database management of image. Therefore, the aim of our paper is to apply Red Green Blue ( Methods: The morphological operations are performed in the face region to a number of pixels as the proposed parameter to check either an input image contains face region or not. Canny edge detection is also used to show the boundaries of a candidate face region, in the end, the face can be shown detected by using bounding box around the face. Results: The reliability model has also been proposed for detecting the faces in single and multiple images. The results of the experiments reflect that the algorithm been proposed performs very well in each model for detecting the faces in single and multiple images and the reliability model provides the best fit by analyzing the precision and accuracy. Moreover Discussion: The calculated results show that HSV model works best for single faced images whereas YCbCr and TSL models work best for multiple faced images. Also, the evaluated results by this paper provides the better testing strategies that helps to develop new techniques which leads to an increase in research effectiveness. Conclusion: The calculated value of all parameters is helpful for proving that the proposed algorithm has been performed very well in each model for detecting the face by using a bounding box around the face in single as well as multiple images. The precision and accuracy of all three models are analyzed through the reliability model. The comparison calculated in this paper reflects that HSV model works best for single faced images whereas YCbCr and TSL models work best for multiple faced images.

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