Estimation of Fluor Emission Spectrum through Digital Photo Image Analysis with a Water-Based Liquid Scintillator

In this paper, we performed a feasibility study of using a water-based liquid scintillator (WbLS) for conducting imaging analysis with a digital camera. The liquid scintillator (LS) dissolves a scintillating fluor in an organic base solvent to emit light. We synthesized a liquid scintillator using water as a solvent. In a WbLS, a suitable surfactant is needed to mix water and oil together. As an application of the WbLS, we introduced a digital photo image analysis in color space. A demosaicing process to reconstruct and decode color is briefly described. We were able to estimate the emission spectrum of the fluor dissolved in the WbLS by analyzing the pixel information stored in the digital image. This technique provides the potential to estimate fluor components in the visible region without using an expensive spectrophotometer. In addition, sinogram analysis was performed with Radon transformation to reconstruct transverse images with longitudinal photo images of the WbLS sample.

Online Dignity Therapy and Photo Collages: The Narratives of Israeli and Italian Older Adults in the COVID-19 Era

The social isolation imposed by the Covid-19 pandemic has significantly affected older adults, and has impacted both their physical and mental health. The pandemic has led to an increase in ageism associated with poorer mental health and a lower sense of dignity, self-esteem and contribution to society. This cross-cultural study involved 24 participants from Italy and Israel aged 79 to 92. The aim was to develop a brief art-based online intervention to enhance the participants’ sense of dignity and sense of meaning in life during this time of crisis. The process focused on the creation of digital photo-collages that captured the participants’ values through three perspectives: their past experiences, legacy, and future perspectives. It employed an arts-based research methodology to explore the participants’ experiences by analysing their relationship with the artistic expression, the photo collage, and its creative process.

Students’ Digital Photo Stories about School Spaces for Safety and Learning

This study explores students’ photo story input into how to create a safe and sustainable educational environment. Digital photo stories were collected through classroom assignments at a secondary school in Sweden and the software Microsoft Sway. The students made use of photos and texts to describe what they regarded as safe and unsafe places and places that supported or impeded their learning. The results show variations both in the areas that the students viewed as safe and unsafe and the reasons for their choice of area. This means that one area can be depicted as safe or positive by one student, but unsafe or negative by another, which was also the case regarding learning.

From Family Albums to Global Search Engines: Translating Family Photographs for the Digital Age

<p>This thesis examines the ways digital photo-sharing platforms adopt, use and challenge the discourse of the material family album as a way of demonstrating the uses for new media within the private sphere. It analyses the digital photo-sharing platforms of Picasa and Shutterfly, platforms which often take contrasting approaches to negotiating the relationship between material and digital cultures. By examining these platforms in terms of the way they reference and use the discourse of the material family album, the ways they allow content to be used and accessed, and their relationship to commercial culture, this thesis explores how these platforms use the discourse to transform the way the family and the family album interact with one another, and with geography, time and commercial culture. It argues that the discourse of the material family album is translated by digital photo-sharing platforms in order to ensure the family participates in the digital sphere, drawing more of human communication into the online space where it can be mediatized, observed, and commodified. The thesis begins by defining the discourse of the material family album, drawing on the ways the family album is commonly described in academic literature. It identifies a common discourse in discussions of the family album which suggests a particular way of thinking about the album’s functions and practices. The second chapter explores the ways digital photo-sharing platforms adopt and translate this discourse, and give these social practices a visual, media form. These platforms draw the family into the digital sphere by abstracting these practices from the material world and rendering them visible in their interfaces. As a result of this, however, the practices become subject to an increasing degree of standardisation and control from outside the family. The third chapter addresses the issue of access to family albums in both the material and digital contexts. It argues that the benefits of using digital interfaces lie in how they enable a reinterpretation of the significance of geography and time to both the album and its viewers. The characteristics of new media therefore challenge how access to the album was granted and refused in the material world. The final chapter explores the relationship between the family album and commerce, and argues that the commodification of the family album and the practices involved in creating them are perhaps the strongest driving factor in the desire to connect the family with new media and the internet. When the discourse of the material family album is realised within digital photo-sharing platforms, the relationship between family albums and commodities is changed, meaning digital photo-sharing within the commercially owned platforms of Picasa and Shutterfly involve families and their leisure activities more and more strongly in the world of commerce.</p>

From Family Albums to Global Search Engines: Translating Family Photographs for the Digital Age

<p>This thesis examines the ways digital photo-sharing platforms adopt, use and challenge the discourse of the material family album as a way of demonstrating the uses for new media within the private sphere. It analyses the digital photo-sharing platforms of Picasa and Shutterfly, platforms which often take contrasting approaches to negotiating the relationship between material and digital cultures. By examining these platforms in terms of the way they reference and use the discourse of the material family album, the ways they allow content to be used and accessed, and their relationship to commercial culture, this thesis explores how these platforms use the discourse to transform the way the family and the family album interact with one another, and with geography, time and commercial culture. It argues that the discourse of the material family album is translated by digital photo-sharing platforms in order to ensure the family participates in the digital sphere, drawing more of human communication into the online space where it can be mediatized, observed, and commodified. The thesis begins by defining the discourse of the material family album, drawing on the ways the family album is commonly described in academic literature. It identifies a common discourse in discussions of the family album which suggests a particular way of thinking about the album’s functions and practices. The second chapter explores the ways digital photo-sharing platforms adopt and translate this discourse, and give these social practices a visual, media form. These platforms draw the family into the digital sphere by abstracting these practices from the material world and rendering them visible in their interfaces. As a result of this, however, the practices become subject to an increasing degree of standardisation and control from outside the family. The third chapter addresses the issue of access to family albums in both the material and digital contexts. It argues that the benefits of using digital interfaces lie in how they enable a reinterpretation of the significance of geography and time to both the album and its viewers. The characteristics of new media therefore challenge how access to the album was granted and refused in the material world. The final chapter explores the relationship between the family album and commerce, and argues that the commodification of the family album and the practices involved in creating them are perhaps the strongest driving factor in the desire to connect the family with new media and the internet. When the discourse of the material family album is realised within digital photo-sharing platforms, the relationship between family albums and commodities is changed, meaning digital photo-sharing within the commercially owned platforms of Picasa and Shutterfly involve families and their leisure activities more and more strongly in the world of commerce.</p>

Kernelized Heterogeneity-Aware Cross-View Face Recognition

Cross-view or heterogeneous face matching involves comparing two different views of the face modality such as two different spectrums or resolutions. In this research, we present two heterogeneity-aware subspace techniques, heterogeneous discriminant analysis (HDA) and its kernel version (KHDA) that encode heterogeneity in the objective function and yield a suitable projection space for improved performance. They can be applied on any feature to make it heterogeneity invariant. We next propose a face recognition framework that uses existing facial features along with HDA/KHDA for matching. The effectiveness of HDA and KHDA is demonstrated using both handcrafted and learned representations on three challenging heterogeneous cross-view face recognition scenarios: (i) visible to near-infrared matching, (ii) cross-resolution matching, and (iii) digital photo to composite sketch matching. It is observed that, consistently in all the case studies, HDA and KHDA help to reduce the heterogeneity variance, clearly evidenced in the improved results. Comparison with recent heterogeneous matching algorithms shows that HDA- and KHDA-based matching yields state-of-the-art or comparable results on all three case studies. The proposed algorithms yield the best rank-1 accuracy of 99.4% on the CASIA NIR-VIS 2.0 database, up to 100% on the CMU Multi-PIE for different resolutions, and 95.2% rank-10 accuracies on the e-PRIP database for digital to composite sketch matching.

Design and Implementation of Effective Digital Photo Frame

Digital picture frames are nice because they let us enjoy our photos without having to print them out. Plus, adding and removing digital files is a lot easier than opening a traditional frame and swapping the picture inside when you want to display a new photo. In this paper, we are going to implement Digital Photo Frame using Raspberry Pi,

Digital Photo Frame Printing using 3D Printer

3D printing gives life to all your best projects. Do you know that it could also give life to your picture? Yes, you read it right, if you have a picture of it then you can turn it into a 3D model and 3D print it! From 1 to 100 hundred pictures, several effective solutions are available to help you convert photos into a 3D model.

Smart Digital Photo Frame Design

A Digital Photo frame, also known as a digital media frame. It's a device that displays pictures digitally without the use of a computer or printer. Today’s Digital picture frames comes in a number of designs and sizes, as well as with a variety of extra capabilities. The advent of digital picture frames antecedent all computers commence the dawn of projecting memories digitally. Digital photo frames were originally designed to showcase stationary, slide show of images digitally hence they give a professional look to display images in a frame and due to simplicity in the design, it can be used continuously. You can even run a video containing multiple images with a short display time frame.