Angebote zu "Digital" (21 Treffer)

Kategorien

Shops

Way Beyond Monochrome
55,99 € *
ggf. zzgl. Versand

Photo Techniques Magazine stated: "All our readers need to know about this very useful book." Indeed, there is no other compendium that is as in-depth as this for the beauty and magic of fine-art black-and-white photography. With 560 pages and over 1,000 illustrations, Way Beyond Monochrome starts with conceptual lessons of composition and takes you through image capture, exposure, controlling tonality, variable-contrast paper, archival printing, mounting, framing and presentation with simple concepts to an advanced level. This new edition has been completely revised and heavily expanded, adding over 250 pages to the original edition with new chapters on print mounting, spotting, framing, digital negatives, utilizing digital technologies for alternative processes, and fabulous do-it-yourself projects. Overall, the authors have created a thoroughly researched, technologically sound yet aesthetically pleasing, inspirational bible for monochrome photography.New to this edition:almost double the contenta new section discussing the path from visualization to print, illustrating the interaction between eye and brain, explaining the rules of composition and when to break them to produce photographs with impacta new section on presentation including hands-on mounting, matting, spotting, and framingimage capture has a more in-depth focus, now covering pinhole photography and digital capturenow includes making and printing with digital negativesa new section discussing the pros and cons of typical image-taking and image-making equipmentplus new do-it-yourself projects, including many darkroom tools and an electronic shutter testera useful collection of templates, to copy, cut-out and take with you in your camera bag or use in the darkrooman appendix with all the recipes to make your own darkroom chemicals from scratchall illustrations improved and updatedimproved index with 1,400 references

Anbieter: buecher
Stand: 05.12.2020
Zum Angebot
Way Beyond Monochrome
55,99 € *
ggf. zzgl. Versand

Photo Techniques Magazine stated: "All our readers need to know about this very useful book." Indeed, there is no other compendium that is as in-depth as this for the beauty and magic of fine-art black-and-white photography. With 560 pages and over 1,000 illustrations, Way Beyond Monochrome starts with conceptual lessons of composition and takes you through image capture, exposure, controlling tonality, variable-contrast paper, archival printing, mounting, framing and presentation with simple concepts to an advanced level. This new edition has been completely revised and heavily expanded, adding over 250 pages to the original edition with new chapters on print mounting, spotting, framing, digital negatives, utilizing digital technologies for alternative processes, and fabulous do-it-yourself projects. Overall, the authors have created a thoroughly researched, technologically sound yet aesthetically pleasing, inspirational bible for monochrome photography.New to this edition:almost double the contenta new section discussing the path from visualization to print, illustrating the interaction between eye and brain, explaining the rules of composition and when to break them to produce photographs with impacta new section on presentation including hands-on mounting, matting, spotting, and framingimage capture has a more in-depth focus, now covering pinhole photography and digital capturenow includes making and printing with digital negativesa new section discussing the pros and cons of typical image-taking and image-making equipmentplus new do-it-yourself projects, including many darkroom tools and an electronic shutter testera useful collection of templates, to copy, cut-out and take with you in your camera bag or use in the darkrooman appendix with all the recipes to make your own darkroom chemicals from scratchall illustrations improved and updatedimproved index with 1,400 references

Anbieter: buecher
Stand: 05.12.2020
Zum Angebot
Nicola's Ghost , Hörbuch, Digital, 1, 276min
9,95 € *
ggf. zzgl. Versand

There is a dark secret haunting the Sharpe family. The Sharpes are strange and remote, and when Stephanie Topham is told she must work with Nicola Sharpe in a science project at school, she is horrified. As part of their project, they have to make a pinhole camera. But when they take a photo with the camera, there is a ghost-like figure in their picture. This figure becomes a key to opening up Nicola Sharpe and revealing the secrets of her family. Through a series of appearances in various photos, the ghost directs Nicola and Stephanie into a past that is full of revelations, twists, and surprises. Some are painful, and some tear at the fabric of the Sharpe family. But the unraveling of Nicola's past is the saving of the Sharpes, and, in a final twist, it gives Nicola something more amazing than anything she has ever dared contemplate, even in her deepest dreams. "Kitchen creates a great plotline with Nicola's Ghost, a story with a twist for pre-teens. Nicola's Ghost is a good book. One I will be giving to my daughter to read." - Book Review, The Self Publishing Magazine (Spring, 2010) 1. Language: English. Narrator: Jo Ashe. Audio sample: http://samples.audible.de/bk/acx0/113920/bk_acx0_113920_sample.mp3. Digital audiobook in aax.

Anbieter: Audible
Stand: 05.12.2020
Zum Angebot
Carnage: Arisen, Book 12 , Hörbuch, Digital, 1,...
9,95 € *
ggf. zzgl. Versand

Carnage is now a number-one best seller in Dystopian Science Fiction, number one in War and Military Action Fiction, and an Amazon overall Top 100 best seller. Alpha team looks the devil in the eye. After recovering Patient Zero, Alpha must escape Africa to end the ZA once and for all. But they can feel the hot breath of a reinforced and vengeful Spetsnaz team on their necks - and there can be no escaping the reckoning of an ultimate sniper showdown between Ali and Vasily, and an incomparably brutal iron-cage Texas death match between Predator and Misha. For the first time, all the teams will come together and must fight as brothers for any chance of making it back to Britain. And only one thing is certain - not everyone is walking away from this one. One Troop rallies against decimation and defeat. After rescuing Aliyev, One Troop is pinned down in Red Square between a surging singularity and the merciless killers of Spetsnaz Alfa Group. They're about to lose their second aircraft, they still don't have the zombie-killing MZ, and the clock is ticking down on their pinhole of escape. Only the most vicious and desperate gambit can give them a chance of saving London, not to mention themselves - but Jameson refuses to fail. The crew of the Kennedy battles back. With the bridge and most critical stations held by the world's deadliest maritime commando force and Dr. Park pinned down by a smash-mouth battle and last stand in the ship's hospital, time is running out for the shell-shocked and outgunned crew of the JFK to fight back. The ultimate heroism and sacrifice of everyone from storekeepers all the way up to Commander Drake himself will be required to fight their way back from the brink.... Defiance. Valor. Consecration. Carnage. 1. Language: English. Narrator: R.C. Bray. Audio sample: http://samples.audible.de/bk/podm/000410/bk_podm_000410_sample.mp3. Digital audiobook in aax.

Anbieter: Audible
Stand: 05.12.2020
Zum Angebot
Computer Vision: A Modern Approach
54,99 € *
ggf. zzgl. Versand

Appropriate for upper-division undergraduate- and graduate-level courses in computer vision found in departments of Computer Science, Computer Engineering and Electrical Engineering. This textbook provides the most complete treatment of modern computer vision methods by two of the leading authorities in the field. This accessible presentation gives both a general view of the entire computer vision enterprise and also offers sufficient detail for students to be able to build useful applications. Students will learn techniques that have proven to be useful by first-hand experience and a wide range of mathematical methods. Features + Benefits Broad coverage—Coverage of a wide range of topics allows customization to fit instructor, student, and course needs. Allows instructors to select the most relevant topics for their students and encourages students to enrich their coursework by reading information on other computer vision topics. Most comprehensive and up-to-date text on computer vision—Includes essential topics that either reflect practical significance or are of theoretical importance. Provides students with the most coherent synthesis of current views and teaches them successful techniques for building applications. Depth of the material accessible to various levels of students—Topics are discussed in substantial and increasing depth. While the first half of each chapter is accessible to undergraduates, a good grasp of each chapter provides students with a professional level of skill and knowledge. Application surveys—Describe numerous important application areas such as image based rendering and digital libraries. Teaches students about practical use of techniques and helps them gain insight into the demands of applications. Many important algorithms broken down and illustrated in pseudo code. Enables students to build working systems easily as they can understand the construction of the final application. Excellent pedagogy throughout the text—Includes numerous worked examples, exercises, programming assignments, and extensive illustrations. Provides students with ample opportunity to apply the concepts in the text. I IMAGE FORMATION 1 1 Geometric Camera Models 3 1.1 Image Formation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1.1.1 Pinhole Perspective . . . . . . . . . . . . . . . . . . . . . . . 4 1.1.2 Weak Perspective . . . . . . . . . . . . . . . . . . . . . . . . . 6 1.1.3 Cameras with Lenses . . . . . . . . . . . . . . . . . . . . . . . 8 1.1.4 The Human Eye . . . . . . . . . . . . . . . . . . . . . . . . . 12 1.2 Intrinsic and Extrinsic Parameters . . . . . . . . . . . . . . . . . . . 14 1.2.1 Rigid Transformations and Homogeneous Coordinates . . . . 14 1.2.2 Intrinsic Parameters . . . . . . . . . . . . . . . . . . . . . . . 16 1.2.3 Extrinsic Parameters . . . . . . . . . . . . . . . . . . . . . . . 18 1.2.4 Perspective Projection Matrices . . . . . . . . . . . . . . . . . 19 1.2.5 Weak-Perspective Projection Matrices . . . . . . . . . . . . . 20 1.3 Geometric Camera Calibration . . . . . . . . . . . . . . . . . . . . . 22 1.3.1 ALinear Approach to Camera Calibration . . . . . . . . . . . 23 1.3.2 ANonlinear Approach to Camera Calibration . . . . . . . . . 27 1.4 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 2 Light and Shading 32 2.1 Modelling Pixel Brightness . . . . . . . . . . . . . . . . . . . . . . . 32 2.1.1 Reflection at Surfaces . . . . . . . . . . . . . . . . . . . . . . 33 2.1.2 Sources and Their Effects . . . . . . . . . . . . . . . . . . . . 34 2.1.3 The Lambertian+Specular Model . . . . . . . . . . . . . . . . 36 2.1.4 Area Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 2.2 Inference from Shading . . . . . . . . . . . . . . . . . . . . . . . . . . 37 2.2.1 Radiometric Calibration and High Dynamic Range Images . . 38 2.2.2 The Shape of Specularities . . . . . . . . . . . . . . . . . . . 40 2.2.3 Inferring Lightness and Illumination . . . . . . . . . . . . . . 43 2.2.4 Photometric Stereo: Shape from Multiple Shaded Images . . 46 2.3 Modelling Interreflection . . . . . . . . . . . . . . . . . . . . . . . . . 52 2.3.1 The Illumination at a Patch Due to an Area Source . . . . . 52 2.3.2 Radiosity and Exitance . . . . . . . . . . . . . . . . . . . . . 54 2.3.3 An Interreflection Model . . . . . . . . . . . . . . . . . . . . . 55 2.3.4 Qualitative Properties of Interreflections . . . . . . . . . . . . 56 2.4 Shape from One Shaded Image . . . . . . . . . . . . . . . . . . . . . 59 2.5 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 3 Color 68 3.1 Human Color Perception . . . . . . . . . . . . . . . . . . . . . . . . . 68 3.1.1 Color Matching . . . . . . . . . . . . . . . . . . . . . . . . . . 68 3.1.2 Color Receptors . . . . . . . . . . . . . . . . . . . . . . . . . 71 3.2 The Physics of Color . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 3.2.1 The Color of Light Sources . . . . . . . . . . . . . . . . . . . 73 3.2.2 The Color of Surfaces . . . . . . . . . . . . . . . . . . . . . . 76 3.3 Representing Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 3.3.1 Linear Color Spaces . . . . . . . . . . . . . . . . . . . . . . . 77 3.3.2 Non-linear Color Spaces . . . . . . . . . . . . . . . . . . . . . 83 3.4 AModel of Image Color . . . . . . . . . . . . . . . . . . . . . . . . . 86 3.4.1 The Diffuse Term . . . . . . . . . . . . . . . . . . . . . . . . . 88 3.4.2 The Specular Term . . . . . . . . . . . . . . . . . . . . . . . . 90 3.5 Inference from Color . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 3.5.1 Finding Specularities Using Color . . . . . . . . . . . . . . . 90 3.5.2 Shadow Removal Using Color . . . . . . . . . . . . . . . . . . 92 3.5.3 Color Constancy: Surface Color from Image Color . . . . . . 95 3.6 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 II EARLY VISION: JUST ONE IMAGE 105 4 Linear Filters 107 4.1 Linear Filters and Convolution . . . . . . . . . . . . . . . . . . . . . 107 4.1.1 Convolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 4.2 Shift Invariant Linear Systems . . . . . . . . . . . . . . . . . . . . . 112 4.2.1 Discrete Convolution . . . . . . . . . . . . . . . . . . . . . . . 113 4.2.2 Continuous Convolution . . . . . . . . . . . . . . . . . . . . . 115 4.2.3 Edge Effects in Discrete Convolutions . . . . . . . . . . . . . 118 4.3 Spatial Frequency and Fourier Transforms . . . . . . . . . . . . . . . 118 4.3.1 Fourier Transforms . . . . . . . . . . . . . . . . . . . . . . . . 119 4.4 Sampling and Aliasing . . . . . . . . . . . . . . . . . . . . . . . . . . 121 4.4.1 Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 4.4.2 Aliasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 4.4.3 Smoothing and Resampling . . . . . . . . . . . . . . . . . . . 126 4.5 Filters as Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 4.5.1 Convolution as a Dot Product . . . . . . . . . . . . . . . . . 131 4.5.2 Changing Basis . . . . . . . . . . . . . . . . . . . . . . . . . . 132 4.6 Technique: Normalized Correlation and Finding Patterns . . . . . . 132 4.6.1 Controlling the Television by Finding Hands by Normalized Correlation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 4.7 Technique: Scale and Image Pyramids . . . . . . . . . . . . . . . . . 134 4.7.1 The Gaussian Pyramid . . . . . . . . . . . . . . . . . . . . . 135 4.7.2 Applications of Scaled Representations . . . . . . . . . . . . . 136 4.8 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 5 Local Image Features 141 5.1 Computing the Image Gradient . . . . . . . . . . . . . . . . . . . . . 141 5.1.1 Derivative of Gaussian Filters . . . . . . . . . . . . . . . . . . 142 5.2 Representing the Image Gradient . . . . . . . . . . . . . . . . . . . . 144 5.2.1 Gradient-Based Edge Detectors . . . . . . . . . . . . . . . . . 145 5.2.2 Orientations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 5.3 Finding Corners and Building Neighborhoods . . . . . . . . . . . . . 148 5.3.1 Finding Corners . . . . . . . . . . . . . . . . . . . . . . . . . 149 5.3.2 Using Scale and Orientation to Build a Neighborhood . . . . 151 5.4 Describing Neighborhoods with SIFT and HOG Features . . . . . . 155 5.4.1 SIFT Features . . . . . . . . . . . . . . . . . . . . . . . . . . 157 5.4.2 HOG Features . . . . . . . . . . . . . . . . . . . . . . . . . . 159 5.5 Computing Local Features in Practice . . . . . . . . . . . . . . . . . 160 5.6 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 6 Texture 164 6.1 Local Texture Representations Using Filters . . . . . . . . . . . . . . 166 6.1.1 Spots and Bars . . . . . . . . . . . . . . . . . . . . . . . . . . 167 6.1.2 From Filter Outputs to Texture Representation . . . . . . . . 168 6.1.3 Local Texture Representations in Practice . . . . . . . . . . . 170 6.2 Pooled Texture Representations by Discovering Textons . . . . . . . 171 6.2.1 Vector Quantization and Textons . . . . . . . . . . . . . . . . 172 6.2.2 K-means Clustering for Vector Quantization . . . . . . . . . . 172 6.3 Synthesizing Textures and Filling Holes in Images . . . . . . . . . . 176 6.3.1 Synthesis by Sampling Local Models . . . . . . . . . . . . . . 176 6.3.2 Filling in Holes in Images . . . . . . . . . . . . . . . . . . . . 179 6.4 Image Denoising . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 6.4.1 Non-local Means . . . . . . . . . . . . . . . . . . . . . . . . . 183 6.4.2 Block Matching 3D (BM3D) . . . . . . . . . . . . . . . . . . 183 6.4.3 Learned Sparse Coding . . . . . . . . . . . . . . . . . . . . . 184 6.4.4 Results . . . . . . . . . . . . . . . . . . . . .Appropriate for upper-division undergraduate- and graduate-level courses in computer vision found in departments of Computer Science, Computer Engineering and Electrical Engineering.This textbook provides the most complete treatment of modern computer vision methods by two of the leading authorities in the field. This accessible presentation gives both a general view of the entire computer vision enterprise and also offers sufficient detail for students to be able to build useful applications. Students will learn techniques that have proven to be useful by first-hand experience and a wide range of mathematical methods.

Anbieter: buecher
Stand: 05.12.2020
Zum Angebot
Computer Vision: A Modern Approach
54,99 € *
ggf. zzgl. Versand

Appropriate for upper-division undergraduate- and graduate-level courses in computer vision found in departments of Computer Science, Computer Engineering and Electrical Engineering. This textbook provides the most complete treatment of modern computer vision methods by two of the leading authorities in the field. This accessible presentation gives both a general view of the entire computer vision enterprise and also offers sufficient detail for students to be able to build useful applications. Students will learn techniques that have proven to be useful by first-hand experience and a wide range of mathematical methods. Features + Benefits Broad coverage—Coverage of a wide range of topics allows customization to fit instructor, student, and course needs. Allows instructors to select the most relevant topics for their students and encourages students to enrich their coursework by reading information on other computer vision topics. Most comprehensive and up-to-date text on computer vision—Includes essential topics that either reflect practical significance or are of theoretical importance. Provides students with the most coherent synthesis of current views and teaches them successful techniques for building applications. Depth of the material accessible to various levels of students—Topics are discussed in substantial and increasing depth. While the first half of each chapter is accessible to undergraduates, a good grasp of each chapter provides students with a professional level of skill and knowledge. Application surveys—Describe numerous important application areas such as image based rendering and digital libraries. Teaches students about practical use of techniques and helps them gain insight into the demands of applications. Many important algorithms broken down and illustrated in pseudo code. Enables students to build working systems easily as they can understand the construction of the final application. Excellent pedagogy throughout the text—Includes numerous worked examples, exercises, programming assignments, and extensive illustrations. Provides students with ample opportunity to apply the concepts in the text. I IMAGE FORMATION 1 1 Geometric Camera Models 3 1.1 Image Formation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1.1.1 Pinhole Perspective . . . . . . . . . . . . . . . . . . . . . . . 4 1.1.2 Weak Perspective . . . . . . . . . . . . . . . . . . . . . . . . . 6 1.1.3 Cameras with Lenses . . . . . . . . . . . . . . . . . . . . . . . 8 1.1.4 The Human Eye . . . . . . . . . . . . . . . . . . . . . . . . . 12 1.2 Intrinsic and Extrinsic Parameters . . . . . . . . . . . . . . . . . . . 14 1.2.1 Rigid Transformations and Homogeneous Coordinates . . . . 14 1.2.2 Intrinsic Parameters . . . . . . . . . . . . . . . . . . . . . . . 16 1.2.3 Extrinsic Parameters . . . . . . . . . . . . . . . . . . . . . . . 18 1.2.4 Perspective Projection Matrices . . . . . . . . . . . . . . . . . 19 1.2.5 Weak-Perspective Projection Matrices . . . . . . . . . . . . . 20 1.3 Geometric Camera Calibration . . . . . . . . . . . . . . . . . . . . . 22 1.3.1 ALinear Approach to Camera Calibration . . . . . . . . . . . 23 1.3.2 ANonlinear Approach to Camera Calibration . . . . . . . . . 27 1.4 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 2 Light and Shading 32 2.1 Modelling Pixel Brightness . . . . . . . . . . . . . . . . . . . . . . . 32 2.1.1 Reflection at Surfaces . . . . . . . . . . . . . . . . . . . . . . 33 2.1.2 Sources and Their Effects . . . . . . . . . . . . . . . . . . . . 34 2.1.3 The Lambertian+Specular Model . . . . . . . . . . . . . . . . 36 2.1.4 Area Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 2.2 Inference from Shading . . . . . . . . . . . . . . . . . . . . . . . . . . 37 2.2.1 Radiometric Calibration and High Dynamic Range Images . . 38 2.2.2 The Shape of Specularities . . . . . . . . . . . . . . . . . . . 40 2.2.3 Inferring Lightness and Illumination . . . . . . . . . . . . . . 43 2.2.4 Photometric Stereo: Shape from Multiple Shaded Images . . 46 2.3 Modelling Interreflection . . . . . . . . . . . . . . . . . . . . . . . . . 52 2.3.1 The Illumination at a Patch Due to an Area Source . . . . . 52 2.3.2 Radiosity and Exitance . . . . . . . . . . . . . . . . . . . . . 54 2.3.3 An Interreflection Model . . . . . . . . . . . . . . . . . . . . . 55 2.3.4 Qualitative Properties of Interreflections . . . . . . . . . . . . 56 2.4 Shape from One Shaded Image . . . . . . . . . . . . . . . . . . . . . 59 2.5 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 3 Color 68 3.1 Human Color Perception . . . . . . . . . . . . . . . . . . . . . . . . . 68 3.1.1 Color Matching . . . . . . . . . . . . . . . . . . . . . . . . . . 68 3.1.2 Color Receptors . . . . . . . . . . . . . . . . . . . . . . . . . 71 3.2 The Physics of Color . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 3.2.1 The Color of Light Sources . . . . . . . . . . . . . . . . . . . 73 3.2.2 The Color of Surfaces . . . . . . . . . . . . . . . . . . . . . . 76 3.3 Representing Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 3.3.1 Linear Color Spaces . . . . . . . . . . . . . . . . . . . . . . . 77 3.3.2 Non-linear Color Spaces . . . . . . . . . . . . . . . . . . . . . 83 3.4 AModel of Image Color . . . . . . . . . . . . . . . . . . . . . . . . . 86 3.4.1 The Diffuse Term . . . . . . . . . . . . . . . . . . . . . . . . . 88 3.4.2 The Specular Term . . . . . . . . . . . . . . . . . . . . . . . . 90 3.5 Inference from Color . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 3.5.1 Finding Specularities Using Color . . . . . . . . . . . . . . . 90 3.5.2 Shadow Removal Using Color . . . . . . . . . . . . . . . . . . 92 3.5.3 Color Constancy: Surface Color from Image Color . . . . . . 95 3.6 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 II EARLY VISION: JUST ONE IMAGE 105 4 Linear Filters 107 4.1 Linear Filters and Convolution . . . . . . . . . . . . . . . . . . . . . 107 4.1.1 Convolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 4.2 Shift Invariant Linear Systems . . . . . . . . . . . . . . . . . . . . . 112 4.2.1 Discrete Convolution . . . . . . . . . . . . . . . . . . . . . . . 113 4.2.2 Continuous Convolution . . . . . . . . . . . . . . . . . . . . . 115 4.2.3 Edge Effects in Discrete Convolutions . . . . . . . . . . . . . 118 4.3 Spatial Frequency and Fourier Transforms . . . . . . . . . . . . . . . 118 4.3.1 Fourier Transforms . . . . . . . . . . . . . . . . . . . . . . . . 119 4.4 Sampling and Aliasing . . . . . . . . . . . . . . . . . . . . . . . . . . 121 4.4.1 Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 4.4.2 Aliasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 4.4.3 Smoothing and Resampling . . . . . . . . . . . . . . . . . . . 126 4.5 Filters as Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 4.5.1 Convolution as a Dot Product . . . . . . . . . . . . . . . . . 131 4.5.2 Changing Basis . . . . . . . . . . . . . . . . . . . . . . . . . . 132 4.6 Technique: Normalized Correlation and Finding Patterns . . . . . . 132 4.6.1 Controlling the Television by Finding Hands by Normalized Correlation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 4.7 Technique: Scale and Image Pyramids . . . . . . . . . . . . . . . . . 134 4.7.1 The Gaussian Pyramid . . . . . . . . . . . . . . . . . . . . . 135 4.7.2 Applications of Scaled Representations . . . . . . . . . . . . . 136 4.8 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 5 Local Image Features 141 5.1 Computing the Image Gradient . . . . . . . . . . . . . . . . . . . . . 141 5.1.1 Derivative of Gaussian Filters . . . . . . . . . . . . . . . . . . 142 5.2 Representing the Image Gradient . . . . . . . . . . . . . . . . . . . . 144 5.2.1 Gradient-Based Edge Detectors . . . . . . . . . . . . . . . . . 145 5.2.2 Orientations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 5.3 Finding Corners and Building Neighborhoods . . . . . . . . . . . . . 148 5.3.1 Finding Corners . . . . . . . . . . . . . . . . . . . . . . . . . 149 5.3.2 Using Scale and Orientation to Build a Neighborhood . . . . 151 5.4 Describing Neighborhoods with SIFT and HOG Features . . . . . . 155 5.4.1 SIFT Features . . . . . . . . . . . . . . . . . . . . . . . . . . 157 5.4.2 HOG Features . . . . . . . . . . . . . . . . . . . . . . . . . . 159 5.5 Computing Local Features in Practice . . . . . . . . . . . . . . . . . 160 5.6 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 6 Texture 164 6.1 Local Texture Representations Using Filters . . . . . . . . . . . . . . 166 6.1.1 Spots and Bars . . . . . . . . . . . . . . . . . . . . . . . . . . 167 6.1.2 From Filter Outputs to Texture Representation . . . . . . . . 168 6.1.3 Local Texture Representations in Practice . . . . . . . . . . . 170 6.2 Pooled Texture Representations by Discovering Textons . . . . . . . 171 6.2.1 Vector Quantization and Textons . . . . . . . . . . . . . . . . 172 6.2.2 K-means Clustering for Vector Quantization . . . . . . . . . . 172 6.3 Synthesizing Textures and Filling Holes in Images . . . . . . . . . . 176 6.3.1 Synthesis by Sampling Local Models . . . . . . . . . . . . . . 176 6.3.2 Filling in Holes in Images . . . . . . . . . . . . . . . . . . . . 179 6.4 Image Denoising . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 6.4.1 Non-local Means . . . . . . . . . . . . . . . . . . . . . . . . . 183 6.4.2 Block Matching 3D (BM3D) . . . . . . . . . . . . . . . . . . 183 6.4.3 Learned Sparse Coding . . . . . . . . . . . . . . . . . . . . . 184 6.4.4 Results . . . . . . . . . . . . . . . . . . . . .Appropriate for upper-division undergraduate- and graduate-level courses in computer vision found in departments of Computer Science, Computer Engineering and Electrical Engineering.This textbook provides the most complete treatment of modern computer vision methods by two of the leading authorities in the field. This accessible presentation gives both a general view of the entire computer vision enterprise and also offers sufficient detail for students to be able to build useful applications. Students will learn techniques that have proven to be useful by first-hand experience and a wide range of mathematical methods.

Anbieter: buecher
Stand: 05.12.2020
Zum Angebot
Pinhole Photography
37,99 € *
ggf. zzgl. Versand

Pinhole Photography ab 37.99 EURO From Historic Technique to Digital Application. 4. Auflage

Anbieter: ebook.de
Stand: 05.12.2020
Zum Angebot
Lange Zeit ...
39,00 € *
ggf. zzgl. Versand

Zehn Jahr lang hat der Fotograf Joachim Lindner insgesamt sieben Länder an der Ostsee bereist und etliche Kilometer Küstenlinie durchwandert, um mit seiner Robert Rigby Pinhole Camera die Schönheit der Baltischen See durch ein winziges Loch hindurch auf 4/5 inch Diafilm zu bannen. Entschleunigung und die Rückkehr zur traditionellen Fotografie waren dabei zentrales Anliegen. 144 Camera Obscura Aufnahmen bekräftigen die Intention des Fotografen, unterstrichen wird die Bildwirkung durch feinsinnige und emotionale Texte seiner Tochter, der Autorin Lisa Lindner."Beständige Bewegung. Ein sanftes Fließen der Wellen umspielt die über Jahrtausende hinweg glatt geschliffenen Steine, runde Körper im Zeichen der Zeit. Alles ist in Bewegung und strahlt zeitgleich eine undurchdringbare Ruhe aus. Die See ist heute ein ruhiger Besucher."Trübe Farben, verwischte Konturen. In den Unschärfen der Aufnahmen lassen sich die Wurzeln der Fotografie ausmachen, Ruhe und Konzentration auf das Wesentliche dienten Joachim Lindner als grundlegende Gestaltungselemente seiner Arbeiten. Es ist eine Rückwärtsbewegung der besonderen Art. Nicht gänzlich verzichtet der Fotograf auf die digitalen Möglichkeiten, vielmehr gelingt ihm die Symbiose von traditioneller und moderner Fotografie. Alle Motive wurden mit der Robert Rigby Pinhole Camera auf 4/5 inch Diafilm angefertigt und anschließend digital weiterverarbeitet. Die Arbeiten im Buch sind ein Zusammenspiel zwischen dem fotografischen Anfang und neuester digitaler Technologie. Entstanden sind dadurch 144 außergewöhnliche Aufnahmen fernab von Druck und äußeren Einflüssen. Geduld war der Schlüssel zu dem Projekt. Mit viel Geduld und Spannung ist es den Autoren Joachim Lindner und Lisa Lindner in ihrem Bildband gelungen, die Einzigartigkeit der Umgebung greifbar zu machen und ihr Umfeld dafür zu sensibilisieren. Bild und Text gehen dabei eine homogene Komposition ein. "Lange Zeit ... Lichtbilder der Baltischen See" ist eine Hommage an die traditionelle Fotografie, an die Ruhe und Gelassenheit im kreativen Schaffensprozess.

Anbieter: Dodax
Stand: 05.12.2020
Zum Angebot
Speed and Deep Measurements from Motion blurred...
49,00 € *
ggf. zzgl. Versand

In this book, we have presented an automatic speed measurement method of spherical objects using a single image and a novel approach for depth recovery from a single motion and defocus images. For the speed measurement method, blur parameters of the motion blurred image are estimated and then used to calculate the speed of the object according to a pinhole camera model. Since our approach is an image- based method, it can be implemented with low cost, off-the-shelf digital cameras. Furthermore, the camera settings (such as shutter speed, image resolution, focal length) can be easily adjusted to improve the accuracy of the system. In contrast to the commercially available speed measurement devices, our approach has virtually no limitation on the speed test range. In depth recovery approach, our method requires only a single defocused image to recover the depth of a scene. Besides, the calibration stage for our depth recovery algorithm is much simpler compared to general depth from focus approach. From the experiments for both applications, the results prove the robustness of the algorithms we proposed in this book.

Anbieter: Dodax
Stand: 05.12.2020
Zum Angebot