For Colorization using Template Matching Basic Research on

Colorization, also known as colorization, is a term introduced by Wilson Markle in 1970, and is a method of coloring black-and-white images and videos using a computer. Coloring is important. Imagine coloring a picture as an example. The painting before painting only gives information of existence, such as trees, flowers, and clouds. Some things can be identified by color. This does not give us enough information from the picture. But what about coloring? If you paint the sky red, it will be a sunset, and if you paint the ground green, it will be a meadow. In other words, it is possible to express not only the background but also the background. This makes it possible to read information that cannot be understood only in black and white. With the development of digital devices such as smartphones these days, the chances of seeing black-and-white images are decreasing, but in modern times, black-and-white images are used for X-ray images, MRI images, aerial photographs, fixed-point observations, etc. There are many opportunities to be lost. The development of color photography began in the world in the 1800s, and the development of color photography began in Japan in 1940. In other words, the photographs before that were black and white, and colorization was used to colorize them. Currently, many researchers are studying colorization methods and processes, and the processing time and the burden on users are being reduced. However, software that can perform highly complete colorization is expensive, and some are complicated to operate. Therefore, in this research, as basic research for the development of a fully automatic colorization program for free software, color images (template images) lacking information by template matching using ZNCC and black-and-white images with similar brightness patterns are colored. We made a prototype of a colorization program that restores images.

Practice in Color: Gisèle Freund in Paris

This essay examines the work of German-French photographer Gisèle Freund during the interwar years, with special focus on her volte-face from black-and-white depictions of the collective subject of political demonstrations in pre-exile Frankfurt to color portraits of individual French intellectuals after her arrival in Paris. Pivoting around the short period between 1938 and 1940, when using color became the standard rhetorical maneuver of Freund's portrait series, this essay will trace the photographer's change in practice as a response to the mounting crisis within France's Popular Front and its aesthetic strategies in the face of the rise of fascism. One of the essay's claims is that Freund turned color photography from a material and commercial commodity into the emblem of an alternative, mass-mediated culture—the culture of Americanism—that she, like many European intellectuals of the 1920s, imagined capable of competing with and ultimately countering the fascist mobilization of spectacle.

Detecting Progression of Melanocytic Choroidal Tumors by Sequential Imaging: Is Ultrasonography Necessary?

Purpose: To determine if ultrasonography is necessary to detect progression of choroidal melanocytic tumors undergoing sequential multi-modal imaging with color photography, autofluorescence (AF) and optical coherence tomography (OCT). Methods: All patients with choroidal melanoma undergoing treatment at Moorfields Eye Hospital between January 2016 and March 2020 were reviewed to identify those with treatment deferred by ≥2 months. Tumors that showed progression prior to treatment, defined as an increase in (a) basal dimensions (b) thickness (c) orange pigment and/or (d) sub-retinal fluid, were included. Mushroom shape, Orange pigment, Large size, Enlargement and Sub-retinal fluid (MOLES) scores were assigned to all tumors at earliest date and date of treatment. Results: A total of 99 patients with a mean age of 66 years (range: 26–90) were included. The initial MOLES score was 1 in 2 cases, 2 in 23 cases, and ≥3 in 74 cases. Progression was detected with sequential color photography alone in 100% of MOLES 1/2 and 97% of lesions with a MOLES score of ≥3. When findings on AF and OCT were included, sensitivity for detecting subtle change without ultrasonography improved to 100% for MOLES 3 and 97% for MOLES 4/5. Only one patient included in this study had an isolated increase in thickness that may have been missed had sequential ultrasonography not been performed. Overall, the sensitivity for detecting progression with color photographs alone was 97% (95% CI 93–100%) and increased to 99% (95% CI 97–100%) by including autofluorescence and OCT. Conclusions: Monitoring of choroidal nevi, particularly those classified as MOLES 1 or 2 (i.e., low-risk or high-risk naevi), can be accomplished safely without the need for ultrasonography. The findings of this study may remove barriers to the implementation of tele-oncology clinics for the monitoring of choroidal melanocytic tumors.

Steichen, Eduard Jean (1879–1973)

Photographer, painter, curator and horticulturalist Eduard Jean Steichen was born in Luxembourg and immigrated to the US in 1881. He was self-taught, favoring soft, harmonious tones in both paintings and photographs. In 1905 he and Alfred Stieglitz collaborated to launch the Little Galleries of the Photo Secession (known as "291") for which Steichen curated the first exhibits in the US by modern French artists. The international success of his double-negative portrait, Rodin—Le Penseur (1904) and sales from an exhibit of paintings at Eugene Glaenzer & Co. led Steichen to Paris in 1906, where his work was influenced by the Fauves and experimentation with autochromes, an early color photography process. Subsequently inspired by the concept of the fourth dimension, his work became hard edged. Steichen returned to New York in 1923, where he was appointed the chief photographer for Condé Nast . He was the first director of the Museum of Modern Art’s Department of Photography (1947–62). In 1955 his photographic essay, The Family of Man, toured internationally and he began a film essay of a Shad Blow tree, which was never completed.